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Luxury Y O U R

L U X U R Y

Spring 2015

G U I D E

T O

B U D A P E S T

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L U X U R Y

Impressum

F U N Z I N E •

Spring 2015

Veronik a Szend rei E D I T O R-I N - C H I E F

Viv ien Mag ya r EDITOR

S t y l i n g : Y U R KOV b y O r s o l y a K o v á c s M a k e up: D o r a G r a f f – M a k e u p a r t i s t Hair: P á l G á r d o s , M a x i m i l i á n B a r c z a P hoto: B á l i n t C s á s z á r

Norber t Biegelbauer P RO J E C T M A N AG E R

P UBLISHER & E DITORI AL : FUNZINE MÉDIA Kft. 1053 Budapest, Kálvin tér 2. Tel.: +36.1.323.1727 Fax: +36.1.323.1726 info@funzine.hu www.funzine.hu M A NAGING D IRECTOR : Krisztina Novotta E DITOR- IN -C HIEF : Veronika Szendrei

E DITOR : Vivien Magyar luxury@funzine.hu P EER- REV IEW ED BY: Katalin Burns C RE ATIV E : Krisztina Németh TR AFFIC M A NAGER : Veronika Lénárt D ISTRIBUTION : Zoltán Váradi Tel.: +36.20.771.7178

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While Funzine Média Kft. endeavors to keep all information up-to-date and correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the magazine, the funzine.hu website or the information, products, services, or related graphics contained therein.

40 THE ARTIST’S KITCHEN Interview with Áron Barka 44 BUILDING PRESTIGE Interview with Mazen Al Ramahi 5

DANCING A NEW ROLE

Interview with Tamás Solymosi L U X U R Y

8 12

F U N Z I N E

Highlights of the New Season

52 KNIGHT OF CUPS Interview with Péter Cserkó

DANCING THROUGH LIFE – LIVING THROUGH DANCE

55 LET’S STICK TO CHOCOLATE! Interview with Nóra Erdélyi

FIRST OF ALL: THE OPER A

Interview with Béla Barabás 17

THE CURTAIN RISES: HUNGARIAN DANCES

•

Interview with Zoltán Zsuráfszky

Spring 2015

A NEW WORLD OF DANCE

Interview with Éva Duda 26

SCORES, RECORDS, CONCERTS AND MORE

Budapest Music Center 28

THE HOMECOMING OF JAZZ

Interview with Kornél Fekete-Kovács 32

STORY-TELLING CASTLES

Discover a Past of Luxury 36 38

47 LIQUID TREASURE Interview with Andor Molnár

58 THE MISTRESS OF WINE Interview with Ágnes Herczeg 62 THE STORIES A DRESS COULD TELL

Interview with Eszter Cselényi 66 JEWELLERY FROM THE FUTURE

Liberate Your Senses with tago arc 68 THE SCENTS OF SPRING Expert’s Opinion by Zsolt Zólyomi 70 TODAY’S ART IN BUDAPEST Interview with Hajnalka Somogyi 73 MEMORIES PRESERVED

CELEBR ATE DEFENDER

BY SMOKE

Land Rover Turns 65

Interview with Viktor Zöllner

LUXURY LAUNCHED

The Magazine’s Inauguration Party

76 BLOSSOMING ROOFTOPS Interview with Boglárka Bódis

L U X U R Y F U N Z I N E •

Spring 2015

O MANY PEOPLE, LUXURY MAY

seem like something vague and far beyond their reach, inaccessible, like they say, by „ordinary mortals”. However, luxury is not a question of money. It is certainly not equivalent to sumptuousness, however connected they may be. Luxury is not simply glamour. It has content that is well-thought-out and in accordance with the highest standards. Th at is what differentiates it from sumptuousness: luxury has content. Th is content necessitates the investment of knowledge, time, and strenuous work, as these are essential to creating something that others are willing to make sacrifices for. The objective is not glory for its own sake. It is to create something of truly high quality, be it a fl awlessly prepared and presented dish, a vacation designed to fit someone’s personal needs or a custom-made tailored suit. Uniqueness and individuality are indispensable qualities of a luxury product, for the simple reason that the highest of standards can only be met

S ,

with the most focused attention. When supply and demand meet, it is crucial that their encounter is a real meeting, the formulation of a genuine connection. In that moment, the partners concentrate only on each other. That is the only way for a luxury product to be born. After the launch of the magazine, for a long while, we followed only one principle: to listen to those who we wanted to speak to, to turn our complete attention to them. Now, the time has come for us to ask for your attention, because we believe that we are ready to bring you the highest of standards on these pages. Thank you for joining us! Sincerely, in the name of the Luxury FUNZINE Team: Veronika Szendrei, Editor-in-Chief

L U X U R Y F U N Z I N E •

Spring 2015

HUNGARY IS IN

Dance LOVE WITH

THE

ART FORM OF DANCE SEEMS TO BE FLOURISHING IN

ER BEFORE .

HUNGARY

LIKE NEV-

A S WE TAKE A LOOK AT THE LOCAL DANCE SCENE , PROFESSIONAL

AND NON-PROFESSIONAL ALIKE , WE SEE A DAZZLING CROSS-SECTION OF TRADITIONAL AND CONTEMPORARY, CLASSICAL AND UNCONVENTIONAL GENRES.

29 A PRIL , INTERNATIONAL DANCE DAY

APPROACHES, IT IS WORTH LOOKING

AROUND AND ADMIRING THE COLOURFUL VIEW.

HE OLDEST DANCE INSTITUTION of Hungary is the world-famous Hungarian National Ballet, with its select 122 dancers, a future career dream of every child prodigy. Presently directed by Tamás Solymosi, the company performs the greatest Hungarian and international classic choreographies.

“A mateurs should not find themselves missing out on the joys of dance either.” Another fi xed star in the sky of Hungarian dance is the Hungarian National Dance Ensemble, formerly known as the Honvéd Army Ensemble. Their mission is to keep folk traditions alive and to produce dance shows inspired by the Hungarian cultural heritage, an artistic “mother tongue”. Led by

Zoltán Zsuráfszky, the dance company is proud of its internationally successful repertoire consisting of authentic folk shows and historical dance plays. A dynamic field, going hand-in-hand with the classic institutions, is the independent sector. Prominent names like the Éva Duda Dance Company, or fresh talents such as Radioballet represent unique shades on the palette. Artists whose work is based on traditions different from our own but equally close to the human spirit, such as Argentine tango dancer Béla Barabás, spice up the dance scene for those who can find themselves in the mixing of cultures. Hungary has a lot to offer for hobby dancers as well. It only takes a few clicks to find websites listing dance courses, be it belly dance or Hungarian folk, salsa or odissi, so amateurs should not find themselves missing out on the joys of dance either.

L U X U R Y F U N Z I N E •

Spring 2015

A BRIGHTLY SHINING STAR IN THE CONSTELLATION THAT IS THE HUNGARIAN STATE OPERA,

THE

NATIONAL BALLET

IS A FAMILY OF

122

INDIVIDUAL ART-

ISTS, EACH A UNIQUE PERSONALITY AND A MARVELLOUS PERFORMER

- BUT WHO

POSSESSES THE STRENGTH, THE COMPASSION AND THE INSIGHT NEEDED TO KEEP THEM WORKING TOGETHER , UNOBSTRUCTED?

BALLET DIRECTOR TAMÁS

SOLYMOSI, AN INTERNATIONAL ÉTOILE , A BALLET DANCER WHO HAS DANCED EVERY SIGNIFICANT MALE LEADING ROLE AND APPEARED IN THE WORLD’S MOST ESTEEMED THEATRES FROM

VIENNA TO LONDON, OSLO AND NEW YORK CITY,

IS DECIDEDLY UP TO THE TASK .

MUCH HAS CHANGED IN THE LIFE OF THE OPER A AND THE NATIONAL BALLET SINCE YOUR APPOINTMENT THREE YEARS AGO.

Thanks to the grandiose vision and dedicated work of General Director Szilveszter Ókovács, there have been significant changes in both the image of the institution and the repertoire, and I am more than glad to say that ballet is no longer of secondary importance at the Opera. Despite the economic crisis, our company has managed to not only avoid being dismantled but to begin a journey of extraordinary progress. The National Ballet has never been so popular among career-starters: when I announced an audition for this season, more than 370 applications were handed in during the course of a single month. The ballet currently has 122 members, making it one of the largest companies in Europe. We have introduced several outstandingly talented new artists, put on perfor-

mances that the Hungarian audience has never had a chance to see before, and shed new light on classical pieces by reinterpreting them and staging them in fresh and inventive ways. Moreover, in the meantime, we have been able to rise to a whole new level in terms of technique. WHICH OF YOUR ACCOMPLISHMENTS ARE YOU MOST PROUD OF?

I think that Harald Lander’s choreography Etudes was the fi rst and most striking proof of just how much progress we have made in the past years. It is one of the world’s most difficult one-act classical ballet pieces, which our dancers tackled with incredible strength and grace. Also, for the fi rst

“For us, A strong kick-off is followed by continuous elevation instead of a sudden crash back to the ground.”

L U X U R Y

P hoto: T a m á s G á c s

F U N Z I N E

avoid doing some cutting in order for them to keep growing healthily. But it is crucial that you know exactly when to reach for your pruning shears and when to stick them back into the toolbox. WHAT WILL BE THE HIGHLIGHTS OF THE NEW SEASON?

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Spring 2015

time in ballet history, we choreographed and staged the female version of Robert North’s ballet comedy Troy Game, which is originally danced exclusively by male dancers. Our ballerinas excelled at the challenging piece that ran under the title Troy Game – with Amazons, and this bold venture brought us immense success and a great deal of international attention. I can happily say that for us, success does not mean that we can just sit back and enjoy the show. A strong kick-off is followed by continuous elevation instead of a sudden crash back to the ground. WHAT ARE YOUR MAIN RESPONSIBILITIES AS ARTISTIC DIRECTOR?

I must be able to put more faith into the company than anyone else, because I am a driving force, an engine behind them. It is not an option for me to get exasperated because of a jump gone wrong, an ankle twisted, a hurtful comment received from a critic. My main purpose is to be there for the dancers and make them believe in themselves. I work like a gardener: I tend to my most cherished roses constantly, feeding them with nourishing foliar spray, caressing them and protecting them from being ravaged by pests. Sometimes, you can’t

“ I could probably recognize about a dozen theatres around the world with my eyes closed, based on their scents alone.”

Right now, we are feverishly preparing for the premiere of Kenneth MacMillian’s Manon which will take place on 28 February. I have such a strong connection with the performance that I feel as though it were my own infant child. It’s not just a premiere, it’s also a fi rst in a broader context, because the audience has never seen this particular piece in the performance of a Hungarian company before. I’ve danced the choreography a thousand times and seen it in many theatres all over the world, but the best version by far was the one that I saw at the Royal Opera in London. It was a back-to-basics type of production, with the original setting and costumes – and that’s exactly what our performance will be like too. I find that in most cases, it is best to reach back to the roots. Manon is the flagship of the Royal Ballet, one of MacMillan’s most wonderful works (besides Mayerling and The Judas Tree, which I would also like to bring to the Opera one day), a wonderful choreography to Jules Massenet’s music. I am convinced that the audience will love it. From 25 April, the Swan Lake will be back on the repertoire after a five-year hiatus. Th is, too, will be a classical style production, a particularly felicitous choice as it fits the traditional surroundings of the Opera perfectly. I am not in any way against modern productions – I adore the work of Jiří Kylián, for instance, and we’ll be restaging Boris Eifman’s The Karamazovs and László Seregi’s Sylvia, two contemporary masterpieces this spring at Erkel Theatre. But performances that are faithful to the original are always mesmerizing. WHEN YOU STEP INTO THE THEATRE AND TAKE A DEEP BREATH, IS IT THE BALLET DANCER OR THE DIRECTOR THAT AWAKENS?

I have had so many amazing experiences throughout my career as a dancer that I no longer hunger for the stage. Just imagine, I could probably recognize about a dozen theatres around the world with my eyes closed, based on their scents alone. When I watch my dancers perform, I know exactly

HOW WOULD YOU DESCRIBE WHAT IT FEELS LIKE TO BE A NEW FATHER IF YOU

P hoto: Ta m á s N á n á s i

COULD PUT IT INTO WORDS?

Being a father is my new role in my latest premiere: it’s one that I’ve never been cast before and it’s much bigger than any other role I’ve ever played. It is the leading role.

“ In the rehearsal room, the mirror is the ultimate judge. For my daughters, I may have to play that role for a while.”

Spring 2015

LUTELY NECESSARY?

Objectivity. I must be able to detach myself from my dancers and look upon their performance from the outside. In the past three and a half years, I have only missed about four shows altogether, because I have to see them from among the audience to be able to make a fair judgment without succumbing to night vision. I try to do everything in my power to prevent myself from allowing a mistake because I am biased: for example, I regularly invite the owners of the rights to Onegin and ask them to watch our performances and voice their opinions. I mustn’t lie to myself and I mustn’t al-

•

YOUR WORK THAT YOU ALSO FIND ABSO-

F U N Z I N E

WHAT IS THE MOST DIFFICULT PART OF

low my dancers to lie to themselves either. My twin daughters were born just three days ago, and I already know that it will be my number one responsibility to speak to them frankly and clearly when they’re older and never to lead them astray just to make them feel better. In the rehearsal room, the mirror is the ultimate judge. For my daughters, I may have to play that role for a while until I teach them to always be absolutely honest to themselves.

U X U R Y

what they’re seeing and feeling. When their heart is pounding like it wants to break free, when their lungs are trying to jump out of their chests, when their arm is so sore it feels like it might break off. I am familiar with each and every one of their moments. And to be given the task of trying to make it all easier for them is a huge honour.

L U X U R Y F U N Z I N E

Opera FIRST OF ALL: THE

•

Spring 2015

THE HUNGARIAN STATE OPERA IS THE LEADING CULTURAL

INSTITUTE IN

HUNGARY WHERE DIFFERENT ARTISTIC GEN-

P hoto: A t t i l a Na g y

RES ARE EQUALLY EMBRACED.

L •

Spring 2015

“ W hether you are a fan of opera, ballet or classical concerts, you are sure to find a performance to suit your taste, and even surpass your expectations.”

F U N Z I N E

ure for Measure, Reimann’s Lear, Hamlet by Adès, The Fairy Queen by Purcell (an adaptation of A Midsummer Night’s Dream) and many more. As a fi nale of the season, the Shakespeare400+ Festival celebrates the genius of the English master. The second pillar of the Opera is the Hungarian National Ballet, the only classical ballet company in Hungary. With about 100 performances throughout the season, dance fans have a wide selection of shows to choose from. The rich repertoire includes classic choreographies like Romeo and Juliet and Swan Lake. The company received the rights to perform two extremely demanding pieces only recently. John Crako’s Onegin and Sir Kenneth MacMillan’s Manon are sure to remain popular with the audiences for years to come. Alltime Tchaikovsky favourite The Nutcracker gets a facelift by Wayne Eagling and ballet director Tamás Solymosi, whereas The Sleeping Beauty delights audiences again in a new production, which is considered an absolute highlight in the line of classic choreographies for its technical requirements. Another ballet based on a well-known tale by the brothers Grimm is probably the most popular piece among the youngest audience: the story of Snow White and the Seven Dwarfs keeps children glued to their seats. (However, they might go “boo!” when the witch – portrayed by a male dancer – appears.) Those who prefer more modern pieces can also see the stars of the National Ballet excel in them. These modern (usually one-act) ballets are chosen carefully and presented on one night. Harald Lander’s Etudes, a benchmark work for major ensembles, gives the opportunity for dancers to demonstrate their leaps, pirouettes, their pointe technique specialities and pas-de-deux to varying degrees of difficulty. The all-male ballet parody

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HE PALACE ON ANDR ÁSSY Avenue is in itself a marvel, a masterpiece built by Miklós Ybl, the most significant architect of the 19th century also responsible for the completion of the nearby Saint Stephen’s Basilica and many more public buildings in historic Budapest. Visitors are enchanted by the elegant, richly decorated Neo-Renaissance building with its numerous frescoes and statues even before they set foot in the grand auditorium where further miracles await them. When the lights of the enormous bronze chandelier hanging from the ceiling decorated with Apotheosis of Music by Károly Lotz go out, the stage of the Opera turns into a wonderland. Whether you are a fan of opera, ballet or classical concerts, you are sure to fi nd a performance to suit your taste, and even surpass your expectations. It has been so since the opening in 1884, and the Opera continues to amaze audiences in the next season as well. The 2015/16 season of the Hungarian State Opera offers more programmes than ever. Together with its other venue, the recently restored and reopened Erkel Theatre, more than 400 performances (including over 31 premieres, 40 repertoire pieces and 10 concerts) as well as numerous special events, children’s programmes and guided tours await audiences. Several popular pieces of the repertoire like Tosca and Madama Butterfly are presented in brand new versions, and other long-awaited pieces are put on stage. After years of hiatus, Massenet’s Werther, and the second instalment of Wagner’s Ring cycle, Die Walküre also return to the Opera. The new season is dedicated to William Shakespeare on the occasion of the 400 th anniversary of the death of the greatest English playwright. The season starts with the operatic production of Bernstein’s West Side Story, a modern Romeo and Juliet story, but several popular adaptations feature in the programme such as a new production of Otello by Verdi or a ballet version of Taming of the Shrew. A number of rarities have also found their way into the repertoire of the Opera: Wagner’s fi rst opera, Das Liebesverbot based on Meas-

L U X U R Y F U N Z I N E • P hoto: A t t i l a Na g y

Spring 2015

entitled Troy Game is the work of Robert North, who created his ironic vision of machismo by mixing the everyday routine of dancers with movements inspired by martial arts such as the Japanese aikido or the Brazilian capoeira. A strong European root is connected to these influences: the memories of the ancient Greek war games. At the Opera, a new all-female version, Troy Game – with Amazons is also included in the programme. Some choreographies by Jiří Kylián created to the music of Mozart have been seen by many, and in the new season two more pieces that are shown in Hungary for the fi rst time can fi nd their way into the hearts of the audience by this master. Falling Angels, choreographed for eight ballerinas to the music of Steve Reich, is about the ballet profession itself: how dancers attempt perfection in their art while they also need to embrace their female existence. Sarabande (music by Bach), on the other hand, tries to explore the meaning of the male existence by showing scenes of aggression, self-discipline, vulnerability and sexuality. It is not always classical composers like Mozart, Bach or Wagner (whose heart-breaking melody of Isoldes Liebestod is the background to Wayne Eagling’s Duet – another popular piece on the repertoire of the Hungarian National Ballet),

and not authors like Shakespeare or the brothers Grimm who keep choreographers inspired. Modern fi lm art and literature are also frequently translated into the universal language of dance. Koyaanisqatsi: Life Out of Balance, a fi lm directed by Godfrey Reggio in 1982 is paired with Ray Bradbury’s landmark science-fiction short story collection The Martian Chronicles. The former features original music written by Philip Glass for the fi lm, the latter is choreographed to the music of Solaris, a progressive rock band of the 1980s. Both dance pieces are world premieres. The usually quiet summer break sees an exclusive series of performances in 2016. Billy Elliot, the musical by Sir Elton John is put on stage in a non-replica production by director Tamás Szirtes and choreographer Ákos Tihanyi. The fi lm about the 11-year-old boy who chooses ballet over boxing is well-known from the big screen, and now it is time to present the stage version in a form that differs from the original London production that has toured the world. Th is exciting project by the Hungarian State Opera attempts to attract audiences who prefer “lighter” genres as well as to inspire children to try themselves in the world of ballet. The Hungarian State Opera is ultimately First of All.

L U X U R Y F U N Z I N E •

Spring 2015

FIRST OF ALL LILI FELMÉRY ballerina

www.opera.hu | www.facebook.com/Operahaz

L U X U R Y

WHEN I SAT DOWN AT A TABLE WITH BÉLA BARABÁS, A RGENTINE TANGO DANC-

F U N Z I N E

ER,

I WOULD NEVER HAVE IMAGINED THAT WE WERE GOING TO TALK ABOUT THE

PSYCHOLOGY OF TANGO.

THE END OF OUR CONVERSATION, HOWEVER,

LONGER NEEDED CONVINCING THAT IT IS IN FACT ITS MOST IMPORTANT ASPECT.

•

Spring 2015

LEADING AND FOLLOWING, STEPPING INTUITIVELY AND REACTING CONSCIOUSLY, READING YOUR PARTNER’S BODY AND SOUL: IT IS ALL THERE IN A DANCE OF TANGO.

WHAT ARE THE FOCAL POINTS OF TANGO

IS THE HUNGARIAN TANGO SCENE REC-

LIFE IN BUDAPEST?

OGNIZED ON AN INTERNATIONAL LEVEL?

In Budapest, you need never stop dancing: you will fi nd a milonga to go to every night of the week, with the sole exception of Monday. There are all sorts of gatherings, large and small, defi nitely larger on the weekends. They’re each organized at different locations by different tango groups, but they welcome anyone who’d like to join. There’s one milonga for every mood: if you’re feeling exuberant, you’re sure to fi nd a wild dance party that’ll last until the sun comes up, and there are plenty of options for those who prefer a less improvisational, more theatrical type of tango, too.

Quite a few marathons and two great festivals are organized in Hungary each year, and the most outstanding of these events attract dancers from all over the world. Hungarian male tango dancers are especially sought after: some of them have incredible rhythmical skills, due in part to their musical upbringing, their educational background in Hungarian folk dance and folk music. But the ladies are popular as well, as partners for international dancers, and not only because of the famed beauty of Hungarian women. We welcome dancers from abroad with great pleasure, and I

METHOD

P hoto: K i n g a L a k ne r

THAT YOU CAME UP WITH CALLED CON-

Hungarian folk dances, tango is only partly standardized, it exists in variations. And when there is a lot of freedom to something that you’re trying to learn, it significantly stretches the learning process. Since tango is primarily built on the connection between the two dancers, the leader and the follower, at our school, the emphasis falls on developing communicational skills, learning how to rely on intuitions and interpreting the music, in other words: building that connection. We do not teach fi xed sequences of steps or choreographies, because we would like our dancers to be able to use complicated combinations of steps in an improvised way after they’ve learned the basics.

“ If two dancers can play the game of tango in such a way, passing the leading role back and forth, they will stand out among a hundred other pairs.” TO WHAT EXTENT ARE THE ROLES OF THE MALE AND THE FEMALE DANCER, THE LEADER AND THE FOLLOWER FIXED OR INTERCHANGEABLE?

When I’m teaching beginners, I like to start with a little game. In the fi rst minute of the fi rst class, I ask two partners to stand facing each other, and

Spring 2015

TEACHING

•

CONVENTIONAL

ENT ABOUT YOUR APPROACH?

There are endless variations of tango. The dance itself has been evolving continuously throughout its history: all that was considered a norm in the 30s was turned upside down in the next decade, and so on. Today, there is no one, unified style that you can teach or learn: there are no strictly set rules, no predefined lines, no binding rhythm, even. Just like

F U N Z I N E

AT YOUR SCHOOL, YOU PR ACTICE AN UN-

TACT-IMPRO TANGO. WHAT IS DIFFER-

U X U R Y

think that we are very hospitable hosts. Travelling is an essential part of being an active member of the tango community, and we meet so many wonderful people at marathons and festivals around the globe that it can be positively addictive.

L U X U R Y F U N Z I N E •

Spring 2015

tell the boy to take a step forward. Since the girl remains immobile, he can only do so by stepping around her. The conclusion is simple: a female dancer can change the course of a dance just by refusing to move. For a moment, she becomes a leader. Her reaction to the action of the leader is to take the leadership from him. She contradicts her partner, shaping the dance, sending it off in a different direction. What female dancers must learn is to do this consciously. They have to make

“ If there is something I need to let go of, I let go. If there is something I need to open myself up to, I open up.” sure that when they make a change by taking a bigger or a smaller step, stepping in a different direction or with more or less energy, it is a conscious decision instead of an involuntary reaction. They have to be able to follow up on the changes they’ve made, otherwise the dance will fall apart. If two dancers can play the game of tango in such a way, passing the leading role back and forth, they will stand out among a hundred other pairs. The dynamism between them will be so intense that even those watching will feel like the world has stopped spinning.

about yourself that you need to be working on. A dance is like a test on how well you know yourself. And you experience every moment on multiple levels: with your mind, body and soul. They also say that tango can burn you. The truth is that a dance can be so intensively charged with emotions that it can in fact injure you in a way. WHAT DOES TANGO MEAN TO YOU PERSONALLY?

It is life itself. Everything that I experience during the day, from playing with my daughter to the conversations I have at work, I relive during the three minutes that I’m dancing. It all gets condensed, narrowed down so dramatically that somehow it becomes accessible, and I think more and learn more in those short moments than I do all day. If there is something I need to let go of, I let go. If there is something I need to open myself up to, I open up. Tango is much more than the clichés you see on the stage that are meant to symbolize passion: the red dress, the long legs, the rose in the mouth. How do two friends with nothing romantic going on between them dance together so that the passion is actually real? It is much harder than rehearsing a three-minute choreography for weeks and acting out “passion” on the stage. Nothing happens then and there, all that it’s about is practice and technical skills.

YOUR DANCE CLASSES SOUND LIKE PROPER PSYCHOLOGICAL TR AININGS. CAN

CAN TWO DANCERS BE INCOMPATIBLE?

THE SAME SKILLS BE APPLIED TO OTHER

Dancing is all about the dancers’ state of mind at that specific time. Sometimes you just can’t seem to tune in with your partner: if you’re exhausted and you’d like to go slow, and your partner is all hyped up and energetic and wants to be quick and expressive, your current moods are in such sharp contrast that while you may be able to dance a decent tango thanks to your technical skills, it will be obvious that something is just not working. Really good dancers have developed the ability to adopt their partner’s state of mind, to tune in with their energies so well that their own mood changes. In that case, things can happen that could never be acted out convincingly on the stage.

AREAS OF LIFE?

Defi nitely. Once you are past thinking of tango simply as a dance, you start using the freedom that you are allowed to your advantage, your steps correspond with your thoughts, and dancing turns into a consciously experienced process of psychological development. Little by little, you get closer to knowing yourself, and learn how to influence your own state of mind. They say that dancing tango is like getting slapped in the face. I think there is some truth to that, because while you’re dancing at classes, milongas or wherever else, you always seem to be faced with the things

ER MENEGILDO ZEGNA’S LEATHER BELTS ARE TASTEFUL, MODERN

JAGUAR SU NGLASSES ARE SPORT Y ACCESSORIES CREATED TO EN-

A DDITIONS TO A M AN’S WARDROBE, PERFECT CHOICES FOR CASUAL

H ANCE THE DRIV ING EXPERIENCE, INSPIRED BY THE DESIGNS OF

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L U X U R Y

“Behold the forms of dance…”

F U N Z I N E •

Spring 2015

BEING A BRILLIANT DANCER OF HIS TIME, POET DÁNIEL BERZSENYI GAVE A BEAUTIFUL SUMMARY OF HUNGARIAN DANCES IN HIS CLASSIC POEM, PRAISING THE CREATIVE BODILY EXPRESSION OF EMOTIONS. THANKS TO DEDICATED COLLECTORS, ONE CAN STILL ADMIRE THE OVERWHELMING HORIZON OF HUNGARIAN FOLK DANCES.

S IT IS SAID BY MANY WESTERN viewers after a show performed by the National Dance Ensemble, Hungarian folk dance stands out from among European dances due to its individual, improvisational nature. European travellers of old times often noted the strangely untamed and cruel style of men’s dances and their militant characteristics. Indeed, the traditional Hungarian martial art forms called baranta or böllön have preserved elements reminiscent of Far Eastern movement culture. An “off spring” of old martial dances, the stick dance is a spectacular solo dance form, traditionally performed by shepherds or Roma groups. The dialects of Hungarian folk dance are the Western or Danubian, the Middle or Tisza, and the

Eastern or Transylvanian dialect. They include not only the basic ring dances, but couple or solo forms, which allow for improvisation almost exclusively to men. Due to the Turkish Occupation, ring dances prevailed in areas belonging to the Empire, while in places closer to Medieval Europe, couplets began to thrive, and became a fundamental part of village life. Their expressive body language had to be mastered by any youth who wanted to find a good spouse. The most famous Hungarian dance, the Csárdás has undergone much change from its original village form to the urban version, which became widely popular and inspired many European composers. Whether danced in the original style or in an operetta show, Csárdás is considered the biggest symbol of Hungarian exotica.

L U X U R Y

The Curtain Rises:

AUDIENCE OF SOME SORT.

THIS IS ESPECIALLY TRUE FOR FOLK DANCING, A COM-

MUNAL FORM OF CELEBRATION AND EXPRESSION BY ORIGIN.

THE NAME OF THE

HUNGARIAN NATIONAL DANCE ENSEMBLE SUGGESTS A KIND OF TOGETHERNESS AND UNITY: A PROMISE THAT FULFILS ITSELF EVERY TIME THEY PERFORM. YET, IT IS THE PLURALITY OF

A ND

HUNGARIAN DANCES THAT DEFINE THEM. A RTIS-

TIC DIRECTOR ZOLTÁN ZSURÁFSZKY TALKS ABOUT THE LIFE OF THE SUCCESSFUL DANCE ENSEMBLE , THEIR COLOURFUL REPERTOIRE AND THE MANY ASPECTS OF

HUNGARIAN FOLK DANCE AS IT CONTINUES TO ENRICH OUR LIVES TODAY. THE ATMOSPHERE OF THE THEATRE’S CAFÉ IS FULL OF THE EXCITEMENT OF PREPAR ATION. WHICH SHOW ARE YOUR REHEARSING TODAY?

We’re in the middle of the technical week before the premiere of Merry-Go-Round on 20 February. The production is the result of a fruitful collaboration between the National Theatre and the National Dance Ensemble, between director Attila Vidnyánszky and myself. Working together is something that we have been longing to do for a long time, and it has been truly amazing. All 40 members of our Ensemble are taking part in the programme, as well as our 6-member folk music band. Zsuzsa Vincze wrote the script based on the 1959 fi lm by Zoltán Fábry and László Nádasdy. It will be a spectacular show, with lots of dynamic elements and dances, which are encouraged by the dramaturgy of the original work: it’s as if it had been written for us in the fi rst place. Merry-

Go-Round has provided the Ensemble with a great opportunity to really shine. Our language is the language of folk dances from the Carpathian Basin: it is a rich vocabulary that we can use to express whatever we want. Merry-Go-Round opens up new possibilities for using our knowledge, as it is essentially a theatrical performance: our job is to figure out how we can apply our rhythmical and symbolic set of tools to a theatre stage. Or dancers share the stage with actors like György Cserhalmi and Attila Vidnyánszky Jr., and they are not thrown off their balance when, besides dancing, they are required to express themselves verbally on the stage.

“Our language is the language of folk dances from the Carpathian Basin: it is a rich vocabulary that we can use to express whatever we want.”

Spring 2015

DANCING IS AN ACTIVITY SELDOM ENJOYED ALONE, WITHOUT A PARTNER OR AN

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DANCES

F U N Z I N E

HUNGARIAN

U X U R Y

P hoto: L e v e nte Vá r a d i

gions –, thematic historical pieces, like The Bells Toll, which we did to commemorate the outbreak of the First World War, and many children’s plays, fairytale performances.

F U N Z I N E

WHICH OF YOUR PROGR AMMES ARE MOST SOUGHT AFTER ABROAD?

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Spring 2015

“ The dialects of Hungarian folk dance are so unique, so individualistic, so colourful and so unconstrained that there is no match for them.” HOW IS THE PLAY DIFFERENT FROM THE

Foreign audiences are mainly interested in our authentic folklore programmes. When we go on tour, the organizers usually have a very specific idea of what they would like to see, be it bottle dances, stick dances, jumping dances, colourful costumes or just a wide range of dances from different areas. We take these preferences into account when we put together our programmes. With our show entitled Csárdás! – The Tango of the East, we have toured the United States and Canada twice, and we have also taken it to China and Japan. Unfortunately, opportunities for travelling are becoming more and more scarce. It’s very difficult to organize a tour for a company of this size.

MOVIE?

Nearly 60 years have passed since the making of the fi lm, and since then, significant discoveries have been made by collectors and researchers of folk culture, most importantly Zoltán Kallós. The play will include a number of songs that couldn’t possibly have been included in the fi lm because they hadn’t been written down to be preserved as part of our folk heritage yet. The fi lm is rooted in material originating from the area around Debrecen. In our production, we’ve broadened the spectrum and incorporated elements of many different traditions: the choreography builds on Transylvanian and Transdanubian dances along with ones from Eastern Hungary. Th is is a modern approach capable of conveying a more contemporary experience. Choosing what to include and what not to include in a performance is a process of artistic selection. In this case, we are the ones who are fortunate enough to be making these decisions, and our taste is thus inevitably reflected in the play. WHAT TYPES OF PROGR AMMES DO YOU HAVE ON YOUR REPERTOIRE?

Each year, we put on 20-24 repertoire shows, encompassing authentic folklore programmes – when we perform dances from the Kalotaszeg, Mezőség, Szatmár, Gyimes and Bonchida re-

HOW DO THE DANCERS COPE WITH SO MUCH WORK?

They have dedicated their lives to it. Most of them also lead smaller dance groups, amateur ensembles to pass on their knowledge. And it is very encouraging to see just how much our work is needed and how many people are interested in what we do. We often perform in front of large audiences: Erkel Theatre can seat up to two thousand people, and the Operetta, the National Theatre and the Palace of Arts accommodate hundreds as well. Nothing beats the feeling of seeing hundreds of children clapping and shouting after a full-house show. H AV E THE NEEDS OF THE DOMESTIC AU DIENCE CH A NGED IN A WAY TH AT THEY DEM A ND MOR E SPECTACUL AR SHOWS, W ITH CIRCUS-LIK E ELEMENTS A ND SOPHISTICATED TECHNOLOGICA L SOLU TIONS?

Of course, it is no longer enough to simply hang a nice carpet in the background and present the dance performance without a visual context. For each programme, we create unique, complex visual compositions on the stage, which means building sets using the folk motifs that complement our dances and music – such as meticulously

L U X U R Y

F U N Z I N E โ ข

Spring 2015

P hoto: G รก b or D u s a

L U X U R Y F U N Z I N E • P hoto: L e v e nte Vá r a d i

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“Our dancers also possess a very deep technical knowledge that is required for them to be able to express a complex artistic idea at a higher level of the language of dance.” carved and richly embroidered props –, and we work with advanced lighting technology. The way that the stage is set can play a very important role in completing the performance.

again. The dialects of Hungarian folk dance are so unique, so individualistic, so colourful and so unconstrained that there is no match for them. The diversity, the openness, and the freedom embedded in Hungarian dance culture make it what it is. The dances reveal a boundlessly free soul. That is why it is sometimes hard for foreigners to grasp the meaning of Hungarian dances. And for us, that is what makes them so irresistibly exciting. DO HUNGARIANS STILL POSSESS SUCH A FREE SOUL?

WHAT MAKES HUNGARIAN DANCES SPECIAL?

The Carpathian Basin is home to a dance culture of unparalleled richness and diversity. It is a territory where different traditions meet, where the customs of different nations mutually influenced one another. Hungarian culture, for example, embraced several elements of Roma, Romanian, Slovakian, Jewish and South Slavic traditions. The folkloristic material that was born from these fruitful encounters is very precisely documented and archived: we have as detailed records of folk dances as we do of song culture and folk tales. The reason that this collection has remained fresh and full of potential is its diversity. It can produce an endless number of interpretations, and can be approached from new directions again and

Yes, I believe they do. And that is why so many people love to watch folk dancers perform. Before the success of the TV programme called The Peacock has Flown, a folk music and dance talent show, we didn’t even realize just how many people are interested in folk dance culture, and how many excellent ensembles are hiding in all corners of the country and right outside our borders. Suddenly it seems like everyone in the entire country is always busy dancing or singing in their local folk ensemble! What we wanted to achieve when we started the folk dance club movement in the seventies was to fi nd ways to integrate rural dance culture into city life, to figure out what had to be subtracted from and added to it in order for it to seamlessly merge into and become a part of

L U X U R Y F U N Z I N E •

the urban experience. Similar attempts have been made in Scandinavia and Bulgaria, for example, to keep the local traditions alive, which turned out to be very successful. And by today, the Hungarian model has received considerable international attention as well.

Spring 2015

WHAT IS THE IDEA BEHIND YOUR AUTEUR

P hoto: L e v e nte Vá r a d i

EVENINGS?

In 1983, Miklós Jancsó asked me to dance to a recording of the poem One Sentence on Tyranny by Gyula Illyés. There was a recording of the artist himself reciting the poem, which had to be retrieved from the United States. I choreographed a dance piece to the recording, which had no music or sound other than the poet’s voice on it, and performed the dance at an evening dedicated to Gyula Illyés. The artistic opportunities that lie in this unusual genre interested me so much that later I started choreographing pieces to poems by László Nagy and Attila József. Th is contemporary mode of expression sparked interest in my disciples and colleagues as well, and they themselves have choreographed several similar pieces, some of which appeared in The Bells Toll. After playing the role of the dashing prince, the poor peasant or the little devil in a children’s tale, then becoming a soldier in a play about the war, it can be very refreshing for my dancers to take part in a more abstract, more philosophical, more contemporary piece where impeccable technique is of utmost importance. We store all our knowledge inside of us in the form of Hungarian traditional dances – the Kalotaszeg lad’s dance (legényes), the Transdanubian jumping dance (ugrós), the Rábaköz dus or the Southern Great Plain csárdás – these we are as familiar with as we are with our mother tongue. But our dancers also possess a very deep technical knowledge that is required for them to be able to express a complex artistic idea at a higher level of the language of dance. They have to reach deeper into their resources to be able to dance without music to the rhythm of the recital, listening only to the pulsing of words. And it is a challenge that they undertake gladly.

L U X U R Y F U N Z I N E

A NEW WORLD OF

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Spring 2015

IT’S HARD TO BELIEVE THAT THE FIRST PERFORMANCE BY THE ÉVA DUDA COMPANY PREMIERED JUST A LITTLE MORE THAN 5 YEARS AGO. THE DANCE ENSEMBLE HAS BEEN PROGRESSING AT SUCH AN ACCELERATED PACE, IT SEEMS AS THOUGH THEY ’VE BEEN AROUND FOR DECADES.

ÉVA DUDA,

CONTEMPORARY DANCE CHOREOGRA-

PHER BUILT A COMPANY OF AMAZING DANCERS WHO EACH CONTRIBUTE TO THE GROUP’S SIGNATURE STYLE.

SHE TALKS ABOUT HER WORK AS A CHOREOGRAPHER

FOR THEATRE PRODUCTIONS AS WELL AS CONTEMPORARY DANCE PERFORMANCES.

YOU TOLD ME YOU’VE BEEN AT REHEARS-

YOU’RE JUGGLING LARGE-SCALE THEATRE

AL ALL DAY. WHAT ARE YOU WORKING ON?

PRODUCTIONS AND INDEPENDENT DANCE

We’re working on a production of The Th reepenny Opera by Bertolt Brecht and Kurt Weill. It will be opening at Vígszínház this season in March, directed by Viktor Bodó.

PERFORMANCES. ARE THERE TIMES WHEN

WHAT STYLE OF DANCE DID YOU BUILD THE CHOREOGRAPHY ON?

It’s hard to say, because the director is all for eclecticism: to echo his strategies of directing, I’ve thrown everything from tango to wild contemporary movements and deeply lyrical dances into the mixture. The piece itself is set in a peculiar world and its style of music is also unusual – it has elements that remind us of operas but it’s more like a musical with a cabaret-like atmosphere. The style of my choreographies varies from scene to scene.

“ I strongly believe in trying to find solutions and using the strength that comes from within to overcome obstacles.”

YOU ARE FORCED TO PRIORITIZE?

It’s not easy to maintain a healthy balance, but it can be done, I have been doing it for the past 5 years. Since we set up the company, I have been very careful not to accept an overwhelming amount of theatre commissions. I can find time for one or two each year, but I have to be there for my company as an artist as well as someone who manages our affairs. It’s tough, but I need this sort of variety: I would feel like something is missing from my life if I had to choose one or the other. HOW HARD IS IT TO KEEP SWITCHING?

At fi rst I did feel like I was suffering from schizophrenia, but now it just happens automatically. Part of the reason is that the borderline between the two genres is fading. IS IT THE THEATRES THAT ARE MORE OPEN TO CONTEMPORARY STYLES, OR THE OTHER WAY AROUND?

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Spring 2015

DIFFERENCES THAT REMAIN?

There is a huge financial gap between stone theatre productions and the performances of the independent, alternative dance scene. Somehow, it seems that even though we have world-class dancers and choreographers, we still have to wait to be acknowledged and supported. It’s a shame because dancing is such a short career, and it takes a lot from you. You have to give it your all, you have to face the most difficult challenges every single day, you need to go all the way. And you have to rely on yourself when it comes to managing your career and your company’s present and future. WHEN YOU’RE WORKING IN A THEATRE, DO YOU EVER FEEL LIKE YOU HAVE TO HOLD BACK EVEN THOUGH YOU’D LIKE TO GO A LITTLE FURTHER AND BRING MORE CONTEMPORARY ELEMENTS INTO THE CHOREOGRAPHY?

PLE FOR THIS ARTISTIC PROCESS OF MIX-

I always respect the boundaries that are set by the play’s genre. For example, in the case of Gone with the Wind, I had a little bit of wiggle room, but I could not do away with the basic elegance that defines it. Fiddler on the Roof allowed for much less freedom because the Jewish-style music is so very definitive. Romeo and Juliet, on the other hand, which has been running for the past 10 years at the Operetta was a very exciting project in this sense because it was just screaming for the freshest and most modern dance moves to match its wild, daring, rebellious costumes and music. I love the process of trying to find the perfect ratio of ingredients and spices that are needed to make something that’s nearly ready just perfect. There are an endless number of combinations to choose from, and you have to pick the best one.

ING AND MATCHING, WITH ELEMENTS

YOUR COMPANY IS BRINGING BACK THE PERFORMANCE ENTITLED VIRTUS IN THE NEW SEASON, WHICH IS A PERFECT EXAM-

F U N Z I N E

SO WHAT ARE THE

U X U R Y

It works both ways. Theatres are definitely becoming more and more open, and contemporary dance tends to adopt elements of mainstream theatre as well. The “all-arts” approach is gaining popularity, with dancers singing and playing musical instruments on the stage. I think that is what this age is about. We can draw from everything and anything.

P hoto: D á n i e l D ömöl k y

OF CONTEMPORARY DANCE, NEW CIRCUS AND FOLKLORE.

Virtus is one of my favourites from among my own choreographies, because it is the most cheerful one we’ve ever done. It was born in a period when the entire company seemed to be down in the dumps, we kept whining and complaining, frustrated with everything, racked by indecision and doubt. We needed something to pick us up, so I thought: why not do a fun performance that will make us feel better, serve as a challenge and give us back our willpower at the same time? And that is how Virtus was born. I’d been interested in the new circus trend for quite a while, and we came up with different ideas on how to adopt elements of it and use them in a dance performance. I wanted to fi nd a different approach, to look at ourselves from a different angle, one that’s not tragic but enables us to fi nally laugh at ourselves:

L U X U R Y F U N Z I N E •

Spring 2015

a small nation in the Carpathian Basin, so proud and so full of complaints. So we stirred in some folklore and came up with spectacular show elements like dancing folk dances wearing stilts. We enjoyed rehearsing even more than we could have expected. I am absolutely thrilled that we’re bringing it back to the stage this spring. YOUR COMPANY ALSO HAS A PREMIERE IN STORE FOR THE NEW SEASON, A PERFORMANCE ENTITLED LEAR .

Lear is the first project that my company’s ever done with a theatre director, so we’re very excited about it. Our productions are usually purely dance performances, but lately, we have been starting to experiment with different genres, and this project based

“ Dancing is such a short career, and it takes a lot from you. Y ou have to give it your all, you have to face the most difficult challenges every single day.” on Shakespeare’s masterpiece King Lear is a part of that process. Artúr Szőcs is directing the performance that could be described as physical theatre: audiences will be able to see it at Átrium Theatre. I don’t want to give away all the details, but I can tell you that besides dance, a number of other arts, such as film and drama in a prosaic form will also appear in a visually special environment. WHAT IS YOUR CONNECTION TO THE STORY, THE EMOTIONAL WORLD OF KING LEAR? The conclusion of the play is that life is essentially tragic – I am not so fatalistic, and I strongly believe in trying to find solutions and using the strength that comes from within to overcome obstacles. But I can relate to the central theme of the story, which is how easily we can be consumed by the power in our own hands. Every day we see just what a huge burden power and responsibility can be, and how they can ruin perfectly well-meaning people and happy families. As soon as we get a taste of what it’s like to possess something valuable, we run into a dead end. And worst of all, we become defenceless against ourselves.

YOUR COMPANY IS CELEBRATING ITS 5TH ANNIVERSARY THIS YEAR. WHAT HAVE YOU MADE THE MOST PROGRESS IN? WHERE ARE YOU NOW, ARTISTICALLY?

When we started the company, there was a very strong instinct, a desire, a driving force that kept us going and that showed in our performances as well. But we weren’t organized, we had no idea what it meant to run a company, and we needed time to find out. We recognized that if we didn’t take charge of our own management, no one would do it for us. At fi rst, I thought that the wind would come, lift us up and fly us wherever we wanted to go, but of course, it didn’t happen. We got great reviews and received several awards, but I felt like we were out of touch with the audience. That was something we had to change. By now, we have a stable audience base, and I think that is a huge achievement. We’ve also acquired our very own headquarters, which is also a big step forward. AND YOU, PERSONALLY? WHERE DO YOU SEE YOURSELF?

I feel exhausted. We brought so much energy into the company 5 years ago that we managed to accomplish things that usually take 10-15 years. Now, I feel like I need to stop, take a deep breath and ask myself: which way do I want to go from here? I love my job but I feel like I’ve been a little out of balance lately, which is clearly signalled by the fact that I talk about balance all the time. I have not lost sight of my purpose; I just can’t see it as clearly as before. I’d like to maybe take a step back and look at things from afar. I always regret it when I don’t listen to my intuitions, so maybe this time I should just stop thinking too much and putting labels on everything, trying to decide what’s good or bad. HOW ABOUT YOUR PLANS FOR THE COMPANY?

We’ve received some very exciting invitations from abroad: we’re going to perform at an international festival in Beirut, Lebanon, where no other Hungarian company has ever performed before, and we’re also preparing for a trip to Germany. We’re always happy to be invited to such events.

Food & Live Jazz 25

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Spring 2015

OPEN: MON–TUE......11.30-22.00 WED–FRI........11.30-24.00 SAT ................18.00-24.00

1093 Budapest, Mátyás u. 8.

+36 1 216 7894

www.opusjazzclub.hu

L U X U R Y F U N Z I N E

BUDAPEST

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Spring 2015

MUSIC

CENTER

BMC HAS SUCCEEDED IN BUILDING UP INTERNATIONAL RECOGNITION FOR SEVERAL

HUNGARIAN CONTEMPORARY, CLASSICAL AND JAZZ MUSICIANS, AND LAID

THE FOUNDATIONS FOR THRIVING ARTISTIC COOPERATION BETWEEN

HUNGAR-

IAN AND FOREIGN ARTISTS, WORKSHOPS AND ORCHESTRAS.

UDAPEST MUSIC CENTER (BMC)

was founded by László Gőz in 1996. His primary goal was to establish a music information centre which gathers data of Hungarian classical and jazz musicians together with data of Hungarian contemporary music pieces, and make them all accessible on an international level. At present, approximately 3,000 artists and over 14,000 works are featured in the constantly expanding

online music databases. BMC ’s free music library contains about 90 thousand books, music scores and records. With its travelling pavilion, in the course of two years, BMC promoted Hungarian music and musicians at 12 Hungarian and European locations. In 2008 it launched the New Hungarian Music Forum composers’ competition. BMC has been organizing classical, contemporary and jazz music events since 1997. The greatest highlights of these are the one-week Kurtág 80 music festival, the Music Forum Expo electro-acoustic festival, the New Series Festival, which was a shared event of BMC and publishing company ECM, the BMC Music Flash Classic & Jazz live album-presentations and the Budapest Jazz Festival, which has been taking place in District 9 since 2003. BMC is an initiator of numerous Hungarian contemporary and jazz music events outside the country, and was a participant of the Hungarian cultural seasons in the Netherlands, in Germany, and most recently – due to György Kurtág’s performances in New York and Washington – in the USA.

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Spring 2015

BMC launched its record publishing company

in 1998, and by now the number of its albums has reached 250. Ever since it was founded, the publisher’s purpose has been to produce the recordings of Hungarian contemporary, classical and jazz musicians. Regarding its publishing strategies, BMC is open to carry over both traditional musical values and modern, experimental productions. Th rough the years, thanks to its publications, BMC has succeeded in building up international recognition for several Hungarian artists, and laid the foundations for thriving artistic cooperation between Hungarian and foreign artists, workshops and orchestras. The classical, contemporary and jazz albums which earned Midem, Jazzman, Deutsche Schallplatten and Gramofon awards, and over 2,000 reviews in local and foreign press, signify that BMC has become a remarkable factor in European record publishing. In March 2013, BMC reached a landmark in its history: it opened its new music centre on 4,000 square metres in the heart of inner Ferencváros, Budapest’s cultural and educational district, at 8 Mátyás utca. The space design and inner structure of the complex in the close vicinity of Kálvin tér incorporates the Neoclassicist architecture typical of its environment with 21st century modernity. Its concert hall with excellent acoustic features is equipped with outstanding sound, light and stage

techniques, making it suitable for various events. The central room – as the fi rst of its kind in Budapest – was built specifically as a chamber room, with the aim to host classical chamber music. The Opus Jazz Club, with an impressive record of local and foreign musicians who have performed between its walls, has rightly earned recognition as one of the cutting-edge European concert venues, where jazz fans even from neighbouring countries would come to attend the concerts. The club, also accommodating a restaurant, is an ideal venue for get-togethers with its great kitchen and special meals. The conference rooms located on the higher levels and the green rooftop are a perfect choice for courses, trainings, press conferences and business receptions. The studio, due to its modern facilities and sound recording rooms, is suitable for the recording of chamber and large orchestra pieces, as well as for live concert broadcasts. On the fi rst floor, the Hungarian Music Information Centre and Library provides free access for those interested in the collection. The arrangement of the library is also ideal to host small cultural events. BMC is proud of the fact that the International Eötvös Music Foundation, which trains young conductors and composers with the involvement of world famous artists, has chosen the Budapest Music Center to be its headquarters.

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Spring 2015

The Homecoming of

JAZZ MUSIC IS AN AVID WORLD TRAVELLER, INCESSANTLY ON EXPEDITION: FROM THE

NEW WORLD

TO THE

OLD

AND BACK , IT HAS TOUCHED THE SOULS OF

COUNTLESS MUSICIANS AND MUSIC LOVERS, EVOLVING A LITTLE THROUGH EACH ENCOUNTER .

A ND

AFTER DECADES OF WANDERING AROUND, IT SEEMS THAT

JAZZ HAS FOUND A NEW HOME IN PET PLAYER AND

BUDAPEST. KORNÉL FEKETE-KOVÁCS, TRUM-

A RTISTIC DIRECTOR

MODERN A RT ORCHESTRA

TALKS

ABOUT THE UNIQUE FUSION STYLE THAT HAS BECOME THE STAPLE OF THE HUNGARIAN JAZZ SCENE AND OF THE BAND CELEBRATING ITS

10 TH

ANNIVERSARY.

DAPEST IN SEP TEMBER, WHEN HE AP-

F U N Z I N E

I wrote a song for a scene in Balázs Juszt’s new fi lm, and we’re in the middle of recording the vocals – we’ve already done our part with MAO. Right now, opera singer József Virág is standing behind the microphone, singing the notes that are in fact not so easy!

us every year. The band has come a long way – professionally as well as community-wise – and I am quite sure that we are much better at performing this particular piece than we were back then.

U X U R Y

STUDIO JUST NOW?

WHAT WERE YOU WORKING ON IN THE

I DID AN INTERVIEW WITH BOB MINTZER ON THE OCCASION OF HIS VISIT TO BUPEARED AS A GUEST PERFOR MER AT

•

I HAD THE PLEASURE TO ATTEND YOUR

ONE OF YOUR CONCERTS. HE COULDN’T

CHRISTMAS

Spring 2015

YOU

STOP RHAPSODIZING ABOUT HOW MUCH

PERFORMED DUKE ELLINGTON’S NUT-

CONCERT

WHERE

HE ENJOYED WORKING WITH YOU AND

CR ACKER SUITE AND A UNIQUE MAO

WHAT A THRIVING MUSICAL ENVIRON-

PIECE, CHRISTMAS DIARY. HOW WAS THE

MENT YOU HAVE CREATED IN THE CITY.

PERFORMANCE BORN?

WHAT KEEPS JAZZ ALIVE IN BUDAPEST?

Duke Ellington’s piece has always been very close to my heart, and the original ballet is also one of my favourites. Every year, my family and I decide to go to the Opera and see it. But for some reason, year after year, we start thinking too late and by the time we get to the ticket office, they’re sold out. When I realized that me watching The Nutcracker was just not going to happen, I thought: why not include it in MAO’s programme? I was thrilled when I found out that the scores for the Duke Ellington – Billy Strayhorn setting were attainable. We started rehearsing it and it quickly became part of our Christmas repertoire. The other piece, Christmas Diary, has become a tradition for the band: we have been playing it every Christmas for the past ten years, and it was the very fi rst musical composition written directly for MAO. I wanted something more than just to play the typical, obligatory big band Christmas singles, to fi nd a way for the band to express the real values of the holiday.

There are many, many excellent musicians in this country. The Hungarian jazz tradition draws on gypsy music culture: musicians living in Budapest have a strong bond with gypsy musicians, and our friendship enables us to learn from them. They are a people blessed with remarkable musical talent, and jazz music is the genre that is most capable of demonstrating the pleasure that comes from playing together and the miracles that can happen when outstanding musicians meet. In other Eastern-European countries where Roma culture is less influential, even though amazing performances are born, jazz music lacks the fi re, the fervour, the energy that is an essential part of gypsy music and a basic characteristic of American jazz as well. Budapest is a prism that collects three rays of light coming from different directions and reflects them in a way that they share the same path: American jazz, gypsy music and classical traditions fuse to form a very special kind of music.

HOW MUCH HAS THE PERFORMANCE

HOW DID THE AMERICAN AUDIENCE

CHANGED SINCE YOU FIRST BROUGHT IT

RESPOND TO THIS UNIQUE STYLE DUR-

TO THE STAGE IN 2005?

ING THE BAND’S AMERICAN TOUR LAST

It would be difficult to say. To be honest, I never listen to my own recordings. I feel that you have to somehow let them go when you’re done, because you just get saturated with them. The performance has defi nitely evolved, there have been changes in band members and soloists, and the band’s horn player, Gábor Biznyák has been replaced by actor Péter Kálloy Molnár as narrator. He gladly accepts our invitation to perform with

AUTUMN? YOU WERE BASICALLY TAKING JAZZ BACK HOME, IN A CULTUR ALLY MORE COMPLEX FORM!

Yes, and it was an enticing experience. When it comes to integrating our own culture into a genre

“ There are many, many excellent musicians in this country.”

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Spring 2015

that has its roots elsewhere, we have a certain concept of what we think is the right direction to take. But here at home, we have no way of knowing whether it’s actually working out or not. It was truly uplifting to hear and see the reactions of the American audience, because they confi rmed that our efforts – which are part of a more or less conscious process of defi ning our own artistic intentions – are not in the least futile. The Hungarian audience looks at our music from a completely different angle: they don’t have the perspective of the audience of the country where jazz originates from. Taking our humble “wares” to the United States brought us incredible success, and now we can be sure that we have in fact created something entirely new from existing traditions and succeeded at seamlessly sewing our own culture into it. IF YOU WERE TO HIGHLIGHT ONE MOMENT OF THE TOUR, WHICH ONE WOULD IT BE?

We crowned the American tour with a New York concert where our guest was the ingenious saxophonist David Liebman. At the end of the show, he came to our dressing rooms and said: “Guys, I am completely taken aback, because I get to play with the very best musicians of New York City, and then you come here all the way from Budapest and playing with you feels like a much grander experience.” Then he came up to me and asked me to select a few pieces from his repertoire and orchestrate them for his big band. I could not believe my ears.

“Budapest is a prism that collects three rays of light A merican jazz, gypsy music and classical traditions fuse to form a very special kind of music.”

prospect, and we’ve also been offered an opportunity to take the production to Montclair State University, where they are very open to fusion styles, especially ones that incorporate contemporary classical music. WHAT ARE SOME OF THE MOST MEMORABLE COLLABORATIONS OF THE PAST YEAR?

In February, we embarked on a European Tour with Ennio Morricone, visiting the greatest concert halls in all of Europe, playing the musical scores of famous fi lms written and conducted by the Maestro himself. It was an immense honour and a defining experience for all of us. One of the tour’s highlights was the concert at the Bercy Arena in Paris, where we performed in front of 15 thousand people. The French are a very honest audience: it was absolutely confounding to see the unvarnished reactions of the crowd, impatient whistling followed by shouts of approval and ecstatic applause. Imagine 15 thousand people expressing their emotions so directly at the same time! But we had many exciting events on home ground too: Szabolcs Oláh, once the band’s guitarist, composed a fantastic suite for the orchestra, which premiered in May. We achieved sweeping success with one of our concerts at Opus Jazz Club, when we selected pieces born from the collaboration between Miles Davis and Gil Evans. That evening was very special to me because I felt like by playing Miles Davis’ solos, I got a chance to wear the skin of the musician whose work I have admired almost religiously since I was very young. During the summer, we had a wonderful performance with Rhoda Scott and Miss Laura LaVelle – this was our third time collaborating with them – and in September, we welcomed my good friend Bob Mintzer, who is a truly brilliant musician and from whom I regularly seek professional advice.

WILL YOU BE RETURNING TO THE STATES

THE ORCHESTR A IS TURNING 10 THIS

TO FOLLOW UP?

YEAR. WHAT ARE YOUR PLANS FOR THE

Defi nitely. The autumn tour was a result of a long process of building relationships, which has not yet been concluded, of course. Modern Art Orchestra has been invited to represent Hungary at the New York Chelsea Festival in June, and we are planning to perform at other places as well during our stay. There is a Washington performance in

CELEBR ATION OF THE ANNIVERSARY?

It’s all starting to fall into place: we haven’t decided on which international star we’re going to invite, but what we do know for sure is that we would like to sum up all that has happened to us in the past 10 years in the course of a single concert... It is going to be a long one, I assure you.

PROJECTS ON THE HORIZON?

I’m really excited about a performance with WDR Symphony Orchestra Cologne. I am co-writing and orchestrating a world music symphony with Indian composer Sandesh Shandilya. The piece itself is about 100 minutes long with soloist performers such as Markus Stockhausen and wife Tara Bouman. The concert will be the culmination of two years’ work, and I await the premiere feverishly.

TIME THAT YOU GET?

I try to read as much as I can, although I have to admit that most of my favourite books are not unrelated to work. I love reading biographies of musicians, because I feel that there is a lot to be learned from how they lead their lives, like how to be as efficient as possible. We spend such little time on this planet: you have to be able to give the most of yourself. And when you feel like you’ve lost your drive, you just need to pick yourself up, and to me, that is when these books can be of great help.

“ We spend such little time on this planet: you have to be able to give the most of yourself.”

Spring 2015

HOW ABOUT YOU, PERSONALLY? ANY NEW

WHAT DO YOU DO IN THE LITTLE FREE-

•

UP THE BETTER PART OF YOUR LIFE.

F U N Z I N E

WE CAN SAFELY SAY THAT MUSIC TAKES

U X U R Y

AND UNTIL THEN?

We’ll be continuing our jazz history series and our composer’s nights, and at the end of the season, Adam Nussbaum will be joining us for a special concert. We’re also really looking forward to this year’s Valley of Arts Festival in Kapolcs, where the orchestra will have its own stage and we’ll be organizing all sorts of programmes for ten days, including our interactive Music Boat lessons for children in collaboration with András Hajós.

L U X U R Y F U N Z I N E •

Spring 2015

CASTLES LIVES AND LIFESTYLES LONG GONE – ERAS WE THINK OF WITH NOSTALGIA. CASTLES ARE SILENT WITNESSES OF A GLORIOUS PAST AS WELL AS OF WARTIME DESTRUCTION. THE ARISTOCRATIC WAY OF LIFE, DISTINGUISHED BY LUXURY AND WELL-BEING JUST AS MUCH AS POLITICAL GAMES AND INTRICATE RULES OF ETIQUETTE, BLOOMED INSIDE CASTLE WALLS.

THE MEMBERS OF HIGH-SOCIETY LIVED IN SPECTACULAR

BUILDINGS, SURROUNDED THEMSELVES WITH THE BEST OF ARTISTS, AND SOME EVEN LED ECCENTRIC LIFESTYLES.

THE CASTLES THAT REMAIN AFTER THEM HAVE MANY STORIES TO TELL, AND, TO THE SATISFAC-

TION OF THOSE WHO ARE CURIOUS ABOUT THE DAYS AND NIGHTS OF CASTLE-DWELLERS, THE ACCOUNTS HAVE BEEN HANDED DOWN BY WORD OF MOUTH OR IN WRITTEN RECORDS FOR THE GENERATIONS TO COME.

L U X U R Y F U N Z I N E •

Spring 2015

THE NÁDASDY RESIDENCE T

HE IMPRESSIVE TUDOR-STYLE Nádasdy

Castle is located in the heart of Fejér county, in Nádasladány. The interior was designed and made by the most famous craftsmen of the time, which resulted in breathtaking wrought iron chandeliers, carved wooden furniture and stained glass windows. The dwelling place of the Nádasdys was equipped with the most modern technology of the age. Air heating, sewerage, gas lamps and later electric light bulbs made this home an object of admiration. Under the floors of the castle, a food delivery system was operating to help the staff with the everyday chores of providing the family with meals. Even a network of speaking tubes was used, so that the staff was able to communicate inside the enormous building, always at service to deliver snacks and tea.

The Nádasdy Castle is also called the castle of eternal love. A pair of newlyweds, Earl Ferenc Nádasdy and Ilona Zichy lived here in the second half of the 19th century in perfect happiness. They moved in at the beginning of their marriage, and even had a shared bedroom designed for themselves, which was quite an extravagant idea of their time. Ilona died at the age of 24, after the birth of their third child. Ferenc never married again, nobody could ever take the place of his beloved wife. Even in the years to come, to this day, the tragic feeling of loss has remained between these walls. The estate is surrounded by a park with a beautiful landscape. In its prime, an artificial pond, a waterfall and a water tower made the location even more spectacular. A truly extravagant addition, the Palm Garden with the pheasant-hatching house was envied by many.

L U X U R Y

N THE 18 TH CENTURY, THE ESTERHÁZY

F U N Z I N E •

Spring 2015

Castle had such a well-sounding name in the Monarchy that any adventurous traveller would take to the road from Vienna to pay a visit to the Esterházy estate. At a comfortable pace, the trip could be completed in 12 hours. Miklós Esterházy’s yearly income was as impressive as any prince’s at the time, which explained the grandiosity of both the estate and the lifestyle of those living there. The politician Esterházy was rightly called the Splendour-Loving Prince by his contemporaries. One only had to take a walk through the halls packed with treasured works of art, the library, the private woods, gardens and the theatres (yes, in plural!) to get an idea of the remarkable taste of the landlord, who was a connoisseur, an artist and a generous patron of arts. Indeed, even just the view from one of the windows was worth the visit. Th e great hall overlooked a gorgeous park with small sanctuaries dedicated to antique gods and goddesses, the Marionette theatre and the estate’s own opera

building across from it. The opera was managed by none other than the young Joseph Haydn. He supervised all types of secular music in the estate, and of course, he conducted the operas performed on the stage of the Esterházy opera house. His work rightly earned the words of the Empress: “If I want to see a good opera, I have to take a trip to Esterháza!” The opera building burnt down in 1779, in the course of a gigantic wedding celebration. Esterházy, however, didn’t hesitate to make arrangements for the reconstruction, and in no longer than two years’ time, the second opera house opened its doors to host new performances. Even a Milanese costume designer, Pietro Travaglia was employed there, whose sketchbook preserved the design for Haydn’s opera Paladino. With the death of the last Hungarian Baroque patron and art lover, this fairyland had to face a slow demise. Th e family moved to Kismarton, and the castle was only used during the hunting season. Inside the amazing Esterházy opera, the lights went out forever.

ESTERHÁZY CASTLE

L U X U R Y

FESTETICS CASTLE

F U N Z I N E •

Spring 2015

OUTSTA NDING

MONUMENT

Keszthely, the Festetics Castle gained its final form in the 1880s, although its foundations were laid in the middle of the 18th century. Th rough some stormy decades, grandiose extension and reshaping works were done to the complex. For example, between 1799 and 1801 a new wing was built to it, which became the home of Helikon, Hungary’s largest and only intact private library with over eighty thousand volumes from the 18th and 19th centuries. Its Neoclassical furniture has remained in its original splendour. Life inside the castle and in its vicinity was dedicated to culture and education. György Festetics, the Lord of the castle left the Austro-Hungarian army in 1791 to return to Keszthely and actively promote the cultivation of Hungarian literacy in every field of life. He bravely turned away from Habsburgsupporter parties that sought to favour the Austrian court. He founded Georgikon, a school of economy in Keszthely, and faithfully supported the improvement of military education in his own area. The Keszthely castle was known for its landlord’s devotion to the cause of Hungarian education. Although

the halls were richly decorated in the most beautiful styles of the age, the Festetics Castle was never a place for meaningless glamour. Every ornament spoke of the cultural achievements of humankind. Between 1817 and 1819, Festetics realized one of his dreams by organizing a bi-annual celebration named Helikon. Twice a year, once on the Queen’s birthday, and then at the Georgikon school-finishing ceremony, poets of the Transdanubian region were invited to visit the castle, to be treated with splendid hospitality. In the winter season, Helikon hosted poetry readings, while in spring, students of Georgikon came and performed music, dance, song and theatrical sketches. The venue for these celebrations was the special Helikon grove. In February, the visitors paid tribute to all exemplary poets by planting trees in their memory. All these traditions inspired Dániel Berzsenyi, prominent poet of the age to name the place the “Little Hungarian Weimar” – in reference to the German town of Weimar classics, Schiller, Herder and Goethe. Certainly, not only the magnificent library, but the silent foliage of the parks and the candlelit rooms breathed poetry the whole year through.

U X U R Y

F U N Z I N E

•

DEFENDER Spring 2015

CELEBRATE

ING UNLIMITED PROWESS AND DEDICATION.

JAGUAR-L AND ROVER HUNGARY

CELEBRATED THE GLORIOUS HISTORY OF THE

DEFENDER AND THE LAUNCH OF

NEW DISCOVERY SPORT IN THE FRAMEWORK OF AN EVENT HELD AT THE ICE RINK .

THE

EVENING WAS A UNIQUE OPPORTUNITY TO CATCH

A GLIMPSE OF THE FUTURE AND LOOK BACK AT THE PAST

–

ONE THAT

L AND

ROVER HAS A REASON TO BE PROUD OF.

AND ROVER WAS BORN IN 1948 as a utility vehicle meant for agricultural purposes. Designed shortly after the end of the war by Maurice Cary Ferdinand Wilks, its massive frame was built of leftover aluminium, and it was perfectly capable of roaming the fields with its robust engine and four-wheel drive. Who knew that the monster nicknamed Centre Steer because of the steering wheel’s central position on the prototype would eventually become a legend, an iconic brand that everyone around the globe can recognize at fi rst glance? The fi rst series already marked the path that Land Rover would take in the future. An allterrain vehicle from the start, it quickly became the number one go-anywhere SUV, popular among farmers, hunters, industrial users and fi lm crews who ventured into the wilderness to make documentaries about nature, bringing the Land Rover to home television screens across the world. The design evolved with the introduction of Series II, when designer David Bache created the barrel-side waistline that became the signature style of Land Rovers and the most distinctive and long-lived design element in the history of the automobile industry. By the end of the 1960s, Land Rovers were in high demand on all seven continents. To meet the preferences of the North American market, a luxurious version of the same powerful SUV was released in the form of the Range Rover line in 1970. The same strength and capability at a higher level of comfort – Range Rov-

ers were all that the American citizen could wish for, and they conquered city roads as well as the wilderness and rough country terrain. In 1983, the Land Rover 90 and 110 models replaced the former Series types, followed by the Discovery that compared to the Range Rover in terms of engineering and comfort, but was much more modest and affordable. With the launch of the third model, rechristening the previous two types that ran by numbers alone became inevitable, and thus, in 1990, the name Defender was born. From 1994, Land Rover and Range Rover were owned by BMW. Six years later, the brands became the property of Ford, including the new compact SUV, the Freelander. In the following years, the twin brands went through a period of change, with Land Rover now sporting 5 different types, the Defender receiving powerful Diesel engines and an elegant dashboard, and becoming safer and more comfortable than before. The brands changed hands again in 2008, when they were purchased by their present owner Tata Motors. All the while, Land Rover has been able to stay true to its philosophy, the centres of engineering and manufacture remain in London, and new models, the Land Rover Evoque and the New Discovery Sport have been added to the already extensive palette. The father of all the newer models, the Defender is celebrating its 65th birthday this year, and continues to stand as a symbol for the Land Rover experience. In the words of Gerry McGovern, Land Rover Design Director and Chief Creative Officer: “Defender is the epitome of toughness, of ruggedness, of strength and most importantly, of capability.”

Spring 2015

VÁROSLIGET

•

THE

F U N Z I N E

BETTER PART OF A CENTURY, NEVER STRAYING FROM ITS ORIGINAL PATH, SHOW-

U X U R Y

ER DEFENDER HAS BEEN KNOWN AS THE ULTIMATE ALL- TERRAIN SUV FOR THE

65 YEARS OF STRENGTH AND INDESTRUCTIBLE FORCE. THE ICONIC L AND ROV-

L U X U R Y F U N Z I N E •

Spring 2015

Luxury Launched O N 10 F EBRUARY, WE CELEBR ATED THE BIRTH OF LUXURY F UNZINE AND THE PUBLICATION OF THE MAGAZINE ’S FIRST ISSUE AT A PARTY IN

OPUS JAZZ CLUB.

WE THANK OUR DISTINGUISHED PARTNERS AND GUESTS WHO JOINED US FOR THE EVENING TO SHARE OUR JOY.

C HEERS!

L U X U R Y

F U N Z I N E â&#x20AC;˘

Spring 2015

L U X U R Y F U N Z I N E •

Spring 2015

KITCHEN IF I WERE TO CLAIM THAT I BELIEVE IT IS ESSENTIAL FOR A POET TO BE BLESSED WITH A CERTAIN SENSITIVITY, A DEEPER UNDERSTANDING OF HUMAN EMOTIONS, AND A SPECIAL TENDERNESS, AN ARMY OF CRITICS AND SCHOLARS WOULD RALLY TO THE AID OF ALL THE WORDSMITHS WHO EVER WALKED THE

E ARTH AND

LYNCH ME TO PROTECT WHAT ’S LEFT OF THEIR MACHO IMAGE . I MAGINE WHAT WOULD HAPPEN IF

I SAID THE SAME ABOUT A CHEF! THE FACT IS, AFTER TALK-

ING TO Á RON BARKA , E XECUTIVE C HEF AT A RAZ R ESTAURANT, I DON ’T THINK ANYONE WITH LESS ARTISTIC AND EMOTIONAL CONSCIOUSNESS COULD EVER BE QUALIFIED TO DO THIS JOB.

THE JEUNES CHEFS RÔTISSEURS COMPEWHAT WAS THE WORLD CHAMPIONSHIP FOR YOUNG CHEFS LIKE?

COMPETITORS FACE?

The competitors were given identical baskets, the contents of which were only revealed to them then and there. They had 30 minutes to write a three-course menu – cold starter, main course and dessert – using the ingredients in the basket. The baskets contained a few mandatory ingredients that the competitors could not leave out, and others that they were free to choose from. The menus were handed out to the tasting judges, so that we could give points depending on how well each contestant managed to stick to their original plan. The mandatory ingredients included ostrich fi llet and cape salmon or geelbek, which is a rare fish native to Africa, a kind that some of the competitors had never seen before. Most of them had trouble preparing it, but all in all, they made only minor mistakes, and I couldn’t honestly say that

HOSTED

YOUR

OWN

COMPETI-

TION FOR STUDENTS WORKING IN YOUR KITCHEN AT AR AZ. WERE YOU ABLE TO ADOPT IDEAS FROM THE JEUNES CHEFS COMPETITION?

Since everything worked out just fi ne at the fi rst competition that we held two years ago, I decided to stick to the system we set up back then. However, I did make one change: I had the judges evaluate the dishes without knowing which student made them, just like I’d seen at the Championship. I appointed myself a kitchen judge because I wanted to see how they worked. I would

“All that matters is the food itself. Everything else you need to let go of.”

Spring 2015

WHAT SORT OF CHALLENGE DID THE

YOU

•

I was a member of the jury at the national competition held in Budapest, and the organizers asked me to represent the Hungarian jury in Durban. I was the only Hungarian chef on the panel, and the competitors came from 20 different countries, so it was a truly international experience. The jury was split into two parts: three of us were to observe the contestants working in the kitchen, and the rest of us, the other 6 members including me, were to taste the dishes prepared by them. Each plate was placed in front of the tasters anonymously, marked only with a number, and we weren’t allowed in the kitchen, to ensure that no points were given out undeserved. The kitchen judges evaluated the competitors based on how they used kitchen technologies, how closely they paid attention to hygiene, how much waste was produced while they prepared their dishes (which, I think, is very important to learn at a young age). The tasting judges gave points based on aspects such as the harmony of the flavours and the overall presentation, the visual appeal of the dish.

F U N Z I N E

TITION 2014 IN DURBAN, SOUTH AFRICA.

their dishes wouldn’t have a place on the menu of a better restaurant. You have to take into account that the competitors are all very young, the oldest of them no older than 23 or 24, and they were under a lot of pressure. Even experienced chefs sometimes crumble under the weight of such heavy stress. The championship was a good opportunity for the young chefs to practice how to control a situation that puts so much mental strain on you. What you have to learn is that all that matters is the food itself. Everything else you need to let go of. No paying attention to who’s watching you, who’s going to be evaluating you, and so on.

U X U R Y

YOU WERE ON THE PANEL OF JUDGES AT

L U X U R Y

Towards food. It may sound strange, but we have to be able to become one with the food we’re working with. We have to respect it. And the foundations of that respect are laid down when we pick up an ingredient and hold it in our hands. You may think this is all too much, but I believe that there is something spiritual about that connection. When I get ready to slice a piece of meat, I hold it like I’m accompanying it on its fi nal journey, like I’m giving it the last sacrament. I want it to fulfi l its purpose in the most dignified way.

F U N Z I N E •

Spring 2015

WHEN DID YOU START FEELING LIKE YOU WERE NO LONGER A STUDENT, LIKE YOU’D FOUND YOUR OWN PATH AS A CREATIVE INDIVIDUAL?

have preferred not to call this event a competition: its most important goal was to prepare the students for their upcoming exam, to serve as a training programme. I wanted to put so much pressure on them that they would feel as though they were being squished. It’s the only effective way of practicing for a real-life situation. DID THE STUDENTS PERFORM THE WAY YOU EXPECTED THEM TO?

I was surprised to see that most of the mistakes they made were things that we call their attention to every single day. I think they were trying

“ I was relentless. I ’d beg the chef at the restaurant where I was working to let me stay and watch them do a wine dinner.”

The moment that I was given a free hand at doing what I wanted. To accomplish that, your teachers have to see that you know what you want. You have to show them your interest, your thirst for knowledge by walking up to them and asking them to show you what they’re doing. I was relentless. I’d beg the chef at the restaurant where I was working to let me stay and watch them do a wine dinner. I would expect my students to be at least as enthusiastic as I was, I’m always looking for that spark in their eyes, but it seems that today most of them just want to get everything over and done with as quickly as possible. I really wish I could just tell them all the things no one told me that might have made my life a lot easier. THE WAY I SEE IT, GENERALLY SPEAKING, THERE ARE TWO PREVAILING TRENDS IN GASTRONOMY THAT ARE CLEARLY DISTINGUISHABLE AND IN MANY WAYS IRRECONCILABLE. ONE IS THE APPROACH THAT FOLLOWS THE TRADITIONS OF NOUVELLE CUISINE AND WHAT WE USED TO BE ABLE TO REFER TO AS MOLECULAR GASTRONO-

so hard that they started overcomplicating things. But it made me smile because I remember I used to be giddy and careless just like them. It doesn’t mean that there’s something wrong with their attitude: they are respectful and they show humility. Based on my experience, that is what matters the most in our profession.

MY (A TERM THAT HAS BEEN REDEFINED SO MANY TIMES IT IS NOW PRACTICALLY USELESS), AIMING TO PROVIDE A MULTISENSORY FINE DINING EXPERIENCE WITH THE INTRICATE PRESENTATION OF DELICATE FOOD COMPOSITIONS IN SMALL PORTIONS. THE OTHER IS A BACK-TO-BASICS STYLE THAT ENCOURAGES A RETURN

HUMILITY TOWARDS...

TO TRADITIONAL METHODS OF COOKING

AND RURAL FLAVOURS, PRESENTED IN A BISTRO-LIKE FORM AND A STEAKHOUSEYOU POSITION YOURSELF ON A SCALE WHERE THESE ARE THE TWO EXTREMES?

CRITICIZED YOU FOR FOCUSING ON AESTHETICS?

A person who would say something like that most probably cannot fi nd joy in art at all. They are perfectly content with a simple painting, a mediocre musical composition, a good-enough sculpture. There are those who desire more, and they are the ones that I’d like to focus on. I’m heading in a specific direction and if someone wants to come with me, I’ll be happy to walk with them. But if someone would rather stay, let them stay. Not to mention that it is, of course, our eyes that feast on our food fi rst: if we don’t like what we see, we will never fi nd out what it tastes like because we won’t be inclined to eat it. SO IN WHICH DIRECTION ARE YOU PUSHING THE RESTAUR ANT?

I would like our degustation menu to reach a wider audience, and perhaps advance from a rare opportunity to regular practice. I am very pleased to say that ever since I’ve been working here, I’ve enjoyed absolute freedom. Being allowed to do whatever I have in mind is the only way to bring out the best of me.

Spring 2015

HOW WOULD YOU RESPOND IF SOMEONE

•

I would put myself right in the middle. Here at the restaurant, we have several different options that cater to the needs of everyone. I think that there is a growing demand for what I call “microplating”, the technique of meticulously arranging the elements of the dish on the plate so that the result is basically a work of art, a masterpiece. Th is kind of “modelling” work is very close to my heart, because it’s what I fi nd most fulfi lling, and I can never get over wanting to express myself in such a way. Luckily, I get a chance to actively do this when I’m preparing our degustation menu. But we have all sorts of other events that require a different approach and target a different audience, like wine dinners, Sunday brunches or weekday business lunches.

F U N Z I N E

INSPIRED ENVIRONMENT. WHERE WOULD

U X U R Y

WITH A STRONG EMPHASIS ON LOCAL

L U X U R Y F U N Z I N E

Building

•

Spring 2015

PRESTIGE BUDAPEST HAS BECOME ONE OF THE MOST POPULAR DESTINATIONS FOR TRAVELLERS IN ALL OF

EUROPE, ATTRACTING MORE AND MORE VISITORS EACH YEAR. IN

SEARCH OF A PERFECT LOCATION FOR A NEW, ELEGANT HOTEL-SPECIALTY, HOTEL GROUP OWNER MAZEN AL R AMAHI HAS FOUND A NEW PURPOSE FOR A MAJESTIC NEOCLASSICAL-STYLE PALACE AT THE CENTRE OF

DISTRICT 5. PRESTIGE HOTEL BU-

DAPEST WILL BE OPENING IN APRIL IN COLLABORATION WITH COSTES DOWNTOWN, WHICH WILL BE THE NEW FLAGSHIP OF

COSTES, THE MICHELIN-STAR RESTAURANT.

WHAT ARE THE MAIN FEATURES THAT GUESTS LOOK FOR IN A HOTEL?

Based on my experience, guests are always looking for what’s new. There is no big secret: they are curious, and they want to see something they’ve never seen before. And that is exactly what has been missing from Budapest for the past couple of years in the accommodation sphere – no new hotels have been opened for the past 4 years, partly due to the lingering effects of the economic downturn, and to the fact that the market had become oversaturated before the crisis set in. I feel that a new, high-standard hotel is missing from the city, and that is the gap that we’d like to fill by opening Prestige Hotel Budapest.

“ What we have to offer – that no other hotel can – is our own taste, our own sense of style that we have built into every last nook and cranny of the new hotel.” IN WHAT SENSE DOES THE NEW HOTEL PROVIDE A LUXURIOUS EXPERIENCE?

Our hotel is in the highest category based on the uniqueness of its design: what we have to offer – that no other hotel can – is our own taste, our own

sense of style that we have built into every last nook and cranny of the new hotel. Also, we are very pleased to have formed a partnership with Costes, a Michelin-star restaurant of such high prestige that it is truly unrivalled in Budapest. Aside from the design and the comfort of the hotel beds, it is the quality of the restaurant service that guests always seem to remember. And currently there is no other restaurant in the city where guests are served a Michelin-star breakfast. We also have an amazing conference room in the hotel, which I find very important, because I think that encouraging business travel to Budapest should be considered a priority. The city should be known for more than its many spas – it has much more to offer than its bath culture, however amazing it may be. WHAT WAS IT ABOUT THE BUILDING THAT CAUGHT YOUR ATTENTION?

The reason I fell in love with the building in the fi rst place when I happened upon it back in 2007 is its location. It just could not have been built at a better spot. In the middle of downtown, at walking distance from the most popular sites of the city like the Chain Bridge and the Basilica, and it even has its own three-story parking unit! I think it comes as no surprise that I am so thrilled to have finally

L U X U R Y

F U N Z I N E â&#x20AC;˘

Spring 2015

L U X U R Y

WHAT ARE THE MOST SPECIAL ELEMENTS OF THE HOTEL’S INTERIOR DESIGN?

F U N Z I N E •

Spring 2015

acquired it after 7 long years of negotiating with the owner. The building itself is matchless: it was designed by József Hild, a world-renowned Hungarian architect and a major representative of Neoclassical architecture. It was built at the dawn of the 1860s and functioned as an apartment building. We have restored the facades of the palacelike structure to its former glory, and turned the inner courtyard into an impressive, glass-roofed lobby. The entrances to the rooms can be accessed by a back corridor, but each room will have a door opening onto the circular gallery, from where guests can look down on the atrium. WHAT DOES THE NAME PRESTIGE REFER TO?

The name is like a guideline to how we’d like to run our hotel and what we want it to represent. Prestige refers to the old, the classic, the original: and that is what we would like to remain faithful to. This concept is reflected in everything from the interior design to the style of the rooms and the uniforms of the staff. It can all be described by two words: originality and elegance. I have been working together with interior designers Csilla Sáfrány and Virág Vörös for several years, as they have also contributed to the design of the other two members of our hotel group, Boutique Hotel Budapest and Continental Hotel Budapest. By now, they are familiar with my taste and know how to complement it with the latest design trends – staying strictly within the framework of classic elegance and a unique vintage style. It was a conscious decision from our part not to adopt the modern design elements that are nowadays not only popular but downright overused.

We’ve selected three different patterns of English hand-painted silk wallpaper for the three types of rooms – Standard, Executive and Suite –, we’ve installed elegant pieces of IPE Cavalli furniture, Swarovski crystal chandeliers, Villeroy & Boch sanitary ware and premium quality Harlequin Leonida Velvet textiles. They all represent the same style and blend seamlessly into the surroundings reminiscent of the time of peace. To crown the hotel’s unparalleled design, we’ve ordered mosaics from the Italian art mosaic factory SICIS, which will be assembled to form a circular pattern on the floor of the lobby, at the entrance and behind the receptionist’s desk. The staff will be wearing custom-made uniforms designed by Merletto-Farinacci, which will echo the classical motifs that appear in the hotel’s interior. WHAT ARE YOUR PLANS FOR THE FUTURE?

We are very excited about the opening of the hotel at the beginning of April. We’ve already received lots of reservations; our fi rst guests will be arriving on 2 April! When Prestige Hotel Budapest is fi nally up and running, I am planning to dive into another project. I am negotiating with the owner of another building, one that is located at a similarly good spot but compares to the Continental Hotel in size. For now, all I can say is that it’s going to be a massive endeavour.

L U X U R Y F U N Z I N E •

Spring 2015

THERE

IS A MYSTERIOUS BOTTLE HIDING AT THE BACK OF A KITCHEN CABINET

IN THE HOME OF COGNAC EXPERT

A NDOR MOLNÁR. SHROUDED IN SECRECY, IT

LOOKS UNFATHOMABLY OLD, AND IT SEEMS APPROPRIATE TO LOWER OUR VOICE AND WALK ON TIPTOES AROUND IT. THE CONNOISSEUR OF SPIRITS WHO IS THE CURRENT GUARDIAN OF THIS ENIGMATIC TREASURE REVEALS ITS ASTONISHING STORY.

WHAT EX ACTLY IS INSIDE THE BOTTLE?

The bottle contains a Clos de Griffier cognac from the year 1740, based on the information that we can get from reading the label and the seal. The oldest known cognac in the world is a 1738 vintage, so it is fair to suppose that this may be the second oldest of such spirits. ARE THERE ANY DOCUMENTS TO PROVE ITS AUTHENTICITY?

Unfortunately, there are none. The only way to determine its age is by radiometric dating. In the case of spirits, the strontium dating method is used to reveal the quantity of radioactive isotopes that the substance contains, which allows for calculating the age of the sample. The only problem is that with the help of this particular technique, all they can tell is whether the spirit originates from a time before or after 1940 – the reason being that the strontium content of the Earth’s atmosphere significantly increased with the commencement of nuclear experiments. However,

I have consulted with a friend of mine who is a sommelier living in London with a great deal of experience in the marketing of old and rare spirits, and he has assured me that it will be enough to know whether the item is from before 1940, because the systematic forging of valuable vintages only began after the Second World War. The data on the seal is most probably accurate, but it will only be confi rmed once we have received the results of the radiometric dating process. As of right now, there are no ways to determine the age of an alcoholic beverage any more precisely. The Institute for Nuclear Research in Debrecen will be conducting the process: they are equipped with a highly precise radiometric dating apparatus that is one of only four such instruments around the world.

“ The quality of such spirits does not decrease even after more than 200 years. The real question is whether they actually get better over time.”

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IS IT STILL DRINK ABLE?

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P hoto: Va r g a B e ne d e k

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IS THIS THE ORIGINAL BOTTLE?

Yes, it most definitely is. The distillate produced in 1740 was presumably bottled sometime around 1805. We know this because we have fairly well processed records of this particular subject matter. Other vintages of the same cognac also exist: some bottles are documented in detail, others are less neatly recorded. This bottle belongs to the latter category, but based on the characteristics of the bottle visible to the naked eye, we can assume that it is from the same series as other such cognacs that we know of.

The quality of such spirits does not decrease even after more than 200 years. They never get exhausted and they aren’t compromised in any way. The real question is whether they actually get better over time. Traditionally, the French believe that the development or maturation of the drink itself is completed with the end of the aging process, when the cognac is removed from the oak barrels and transferred to huge, hundred-litre glass carboys called bonbonnes. The oldest cognacs and the rarest vintages are stored in dark cellars called “Paradis”. I’ve visited several such cellars in the Cognac region, and the oldest item that I encountered was an 1805 cognac. It is a common understanding that the cognacs resting in those glass demijohns do not develop further, that they are sealed, locked in the same state that they were in when removed from their oak casks. Consequently, this 250-year-old item will likely be just as it was back then and will not have aged at all in the sense that it did not continue to mature. CAN WE MAKE ASSUMPTIONS ABOUT ITS CHARACTERISTICS IN TERMS OF FLAVOUR?

IS THERE ANYTHING READABLE ON THE BOTTLE?

Absolutely. The bottle itself is not made of glass, it’s a ceramic container. On it, there is an embossed seal, a coat-of-arms with the date 1740. The cork is secured with a thin sheet of Dutch metal, with a wax seal placed upon it. The fact that all of these marks are perfectly intact implies that the item is authentic. The bottle is not full, of course: if we suppose that the date of bottling is indeed 1805, then a considerable amount of the contents would have had to evaporate during those 210 years, even if the bottle remained uncorked the whole time. If the bottle were full, that would indicate that it had been refi lled at one point, and we’d have to question its authenticity.

“ There is a certain awe surrounding an item of such unbelievable age; it’s as if the past 200 years rush through your mind in the same instant.”

Th is is where I’m going to contradict what I just said. The oldest item I’ve ever tasted was an 1806 vintage. In my opinion, the taste was incredibly complex. So in contrast to what the French believe, I am convinced that cognacs continue to change while being stored in glass containers, even if this process is much slower and obviously not equivalent to what we call maturation. They do become more complex, but not the way that wines do. In the case of wine, the processes that follow bottling are biochemical, whereas spirits only go through chemical processes once they are bottled. It is hard to grasp what exactly happens to them. Do they become more complex, more complete, more full? Plus, there is a psychological factor that you have to take into account: you can’t possibly be unaffected by the feeling of holding a bottle that says 1806, or in this case, 1740... There is a certain awe surrounding an item of such unbelievable age, which is why visiting a Paradis is an emotional experience, much like walking into a temple. It’s as if the past 200 years rush through your mind in the same

BOTTLE THAT CALABRESE WAS ORIGIPARTICULAR COCKTAIL. HOW UNFORTUNATE. IS THERE NO RISK IN THE RATHE BOTTLE BE DAMAGED?

Since I am not the rightful owner of the item, I am bound by promises of discretion. All I can say is that this bottle used to belong to a relative of a Sheikh of the Emirates, a collector who has gifted it to a Hungarian artisan in addition to the fee he was paid for completing a commission of craftsmanship.

Taking samples from unopened bottles is a routine practice, in fact, in the case of such valuable items, it is a requirement. It involves poking a long needle that reaches down to the bottom of the bottle into the cork to take a sample. The IsotopTech laboratory in Debrecen is of course a thoroughly audited establishment, and there will be an official report documenting the procedure. The cognac will have to wait its turn though, and it will take several months before the results are back.

AND WHAT IS TO BE ITS FUTURE?

On an international level, such ancient and valuable spirits are auctioned by Christie’s Auction House in London, so in the event that the dating proves the item authentic, it will be up to Christie’s to find its new owner. They have an adequate amount of experience in this field. They were the ones to sell the cognac that Salvatore Calabrese uses to make the world’s most expensive cocktail at the London Playboy Club, a 1788 Clos de Griffier Vieux. I’VE HEARD THAT ONE OF THE GUESTS

P hoto: Va r g a B e ne d ek

AT THE PLAYBOY CLUB SHATTERED THE

COULD YOU GIVE AN APPROXIMATION OF HOW MUCH IT COULD SELL FOR?

I only know that an item that is a few decades younger was auctioned by Christie’s at 25 thousand pounds a couple of years ago, so it’s difficult to make an estimate, but I would say that we’re looking at a bottle of cognac worth between 25 thousand and 100 thousand pounds. What a cliff hanger, right?

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DIOMETRIC DATING PROCEDURE? COULD

END UP IN HUNGARY?

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HOW DID THIS BOTTLE

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NALLY GOING TO OPEN TO MAKE THAT

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instant, and you get dizzy just thinking about all that has happened since that cognac was hidden away to wait undisturbed in a bonbonne.

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â&#x20AC;˘

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L U X U R Y

COFFEE EE

IS A MOVEME MENT IN N SPII RE R D BY A R EC CEN E TLY

EMERG GED D PHILO OSOP PHY THAT T HAS S BE BEEN EN G A INING G GRO OUN N D WO WORLDW DW IDE E FOR

– A ND CHA A LL L ENG E NGIN NG TH H E TR R ADII TION N AL TH H ICK K AND

HE MAIN IDEA OF THE THIRD WAVE – the fi rst being the revolution brought about by Folger’s in the 19th century and the proliferation of Starbucks in the 70s being the second – is to approach coffee in a way that is similar to the way we perceive products like wine and chocolate. The movement encourages the appreciation of coffee as an artisanal foodstuff rather than dismissing it as a simple, convenient beverage: coffee should be regarded as much more than a pick-me-up, an automatic morning habit or a quick and easy tool to beat the mid-afternoon slump. New wave coffee shops have the means to demonstrate the real value of the drink that we have been consuming for centuries. They purchase the finest farm selected coffee beans that were roasted with high-quality techniques or freshly on site, they use state-of-theart machines and alternative, experimental brewing methods – like the pour over or drip brewing method, cold brewing and the French press – to bring out the subtleties of flavour. And above all, they have skilful and passionate baristas who know exactly how to prepare and serve coffee the right way – or should we say, the “Th ird Way”. Th ird Wave coffee shops have appeared in Budapest too: connoisseurship is becoming a trend. “Fine tuning the recipe for each new type of coffee we purchase takes a lot of time and effort, but it is essential in order to get the perfect brew. There are an endless number of factors that influence taste: the quality of the water, the time that has passed since the beans were roasted, the brewing technique you're using, and so on. Plus, we have to be able to bring out different styles from each coffee,” says Tibor Várady, barista and manager at Espresso Embassy. “Coffee culture is rapidly developing in Hungary: some of the specialty coffee shops in Bu-

dapest could easily stand their ground among the best places in Stockholm, London or Melbourne, the centres of the world of specialty coffee. And the standards are getting higher by the year. What we thought was perfect a few years ago we wouldn’t be caught dead with today.”

“F F inne tunninng the reciipe for eacch new w tyype of cofffee we purrchhasee takkes a lot off tim me annd efforrt, but it is esssenntiaal inn ordder to get thhe perffectt breew.” Specialty coffee culture has spawned an array of new genres, such as events where participants show off their skills and talent for mastering alternative brewing techniques, latte art and cup tasting. Coffee cupping or cup tasting is the professional practice of tasting coffee while paying close attention to its characteristic tastes and aromas. Just like wine, spirits or tea, coffee can be described from a number of aspects such as texture, acidity, flavour and aftertaste. The most skilled and experienced cuppers contend at the World Cup Tasters Championship each year and are evaluated by a jury based on how quickly and accurately they can detect taste differences in specialty coffees. In the last few years, Hungary has shown outstanding talent in cup tasting: in 2013, the Hungarian contestant, Lajos Horváth became the Cup Tasters World Champion. Last year, Péter Cserkó represented our country at the Championship in Melbourne, making it to the semi-finals and finishing in 13th place. The 2015 Championship will be held in Göteborg 16-18 June, and after winning the national competition in Slovakia, Péter is sure to be there, this time under the Slovakian flag, but in the colours of one of Budapest’s most excellent new wave coffee shops, Espresso Embassy.

Spring 2015

BITTER ER ITAL L IAN N - STY Y LE E SPRE E SS S O WI WITH TH R E FRESH H INGL LY DE E VIAN N T BRE E WS .

•

THE L AST T T WO DECA A DE ES

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THE THIR R D WAVE

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MOST OF US A RE QUIITE FA A M LIA AMIL IAR R W ITH H T HE INS NSPIRITI TIN NG SENSATI NG TION ON THAT RUNS NS THROUGH US ON A DUL LL MOR ORN N I NG W HE HEN N W E TAK AK K E THE F IRS RST T WHIFF OF THE STEAMING HOT PO OTIO ON SW IR R LING LI G I N OU R CUP PS. PS

WHET ETH H ER

WE TRULY ENJOY

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THE FIRST T SIP AN N D FE EEL R EL LIE IE ED BY IEVE Y IT OR F IND TH THE E TASTE OU OUT TRAGEOUSLY LY

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DISAPPOIN N TING M AY DEF F IN N E OUR MOO OD FOR R T HE ENT T IRE DAY.

BU T HOW DOES ES

COFFEE GO O FROM M PAS SSIO ON TO O PRO OF ES SSIO ON, FR ROM W HIMSY TO R EA A L ST TA K ES E ?

FIND OUT, WE CAU UGHT T UP P W IT T H P É T ER R CSERK KÓ, SOMM KÓ MMELIER AN N D CO COFFEE TAST TING CHAMP PION.

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“ T he reevoluttionn thhat hass already goone donne inn winne cuultuure is only juustt begiinniing in the fielld of cooffee.””

ULLING OPEN THE DOOR OF Espresso Embassy, I am taken aback by how many people are bustling inside, queuing at the counter, leaning against the wall, sitting at the tables and perched atop barstools, leaving no elbow room at all. Th e cheerful chatter of the crowd fi lls my ears and the sweet aroma of coffee tickles my nose. So many impulses hit me at the same time that I almost miss the gentleman waving at me from the back of the shop. I can’t seem to mask my surprise as I walk up to Péter Cserkó, the coffee cupper who I am about to share a cup o’ with. “It’s as if the entire city decided to have their early afternoon coffee at the same time!” I am only able to sit down because he’d reserved a seat for me. “Th ankfully, it’s always like this at this time of the day. More and more people seem to be falling in love with the vibe of the shop. I think it’s mostly due to the spirit and passion of the team, and the top quality coffee, of course. ” Péter regularly jumps in to help out at the Embassy, the place where he’d learned the art of brewing. “I work fulltime as a sommelier at Trattoria Pomo D’Oro, so for now, coffee remains a hobby, but I know that eventually I will have to choose one path and stick to it. It’s a very difficult decision to make, because there are so many aspects to both wine and coffee that you cannot keep juggling the two for a lifetime.” He sounds deadly serious, and I’m perplexed: I had supposed that the two were perfectly parallel to each other. “The truth is, both wine and coffee are basically about

tastes and aromas – we even use the same terms to describe their fl avours – but their roles in everyday life and their general perception are quite different. The revolution that has already taken place in wine culture is only just beginning in coffee. People are less conscious of brewing techniques and the characteristics of coffee than they are of grape varieties and wine styles. Fortunately, new wave coffee shops like this one are doing their best to spread knowledge about coffee and how to appreciate it. There is also the question of brewing, which is not an issue with wine. It’s possible to completely ruin top quality coffee or get the most out of it depending on how you brew it. You have to fi nd the perfect recipe for each kind, which takes a lot of experimenting and can only be achieved through trial and error.” Before I can ask him about the technique of cup tasting, our order of specialty coffee arrives. Th e Embassy stocks up on coffee through importer and roasting company Casino Mocca: this time, we’re trying a new Kenyan coffee, a combination of four Arabica varieties. Péter takes a sip and immediately detects a distinct fruitiness, a subtle sweetness, spicy notes and the fl avour of overripe cherry tomatoes and blackcurrant. All I can tell is that the lightly roasted and drip-brewed coffee has a very unusual taste: it’s much less acidic and less bitter than the espresso I’m used to. “At competitions, there are eight groups of three cups in front of us: we taste the fi rst three items in a row, determine which of the three is different from the other two, and then move on to the next group. It’s very hard to spot the misfit, because the differences are usually nuances. In my head, I try to describe each item with a single word to fi nd the odd-one-out. For example, the fi rst and second cups could be fruity, and the third could be acidic. Or, one of the three could be outstandingly spicy or fragrant. It gets difficult when all three are very acidic, then I usually move on to the next group of three, and return later hoping that the decrease in temperature will bring out

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the difference. However, this is not the best way to go, because time passes very quickly, and you might lose to a contender who identifies the same number of items in a shorter time.” I ask whether it is possible to blindly tell which region or which continent the coffee is from. “For that, you would need to have tasted an enormous amount of coffee or least done a bit of thematic tasting from one particular region. That is the only way to ‘lock’ the memory of the fl avours. But even then, making a distinction based on region is very hard, because a certain country may grow several types of coffee, just like in the case of grape varieties such as Pinot Noir, Cabernet Franc or Merlot.” Péter had the privilege to train for the 2014 World Cup Tasters Championship with the previous year’s champion, Lajos Horváth. “All my confidence came from the fact that I had been preparing with him. He is a very inspiring, precise and demanding teacher. There is an enormous amount of pressure at the Championship, and I found it very hard to deal with it mentally. Just the fact that the drinks you taste are extremely hot can get to you. I taste about 1000-1200 wines each year, but my experience with coffee is much less extensive. Seeing the other contenders at the Championship was intimidating, and even though I knew I was the only one who had trained with the 2014 Champion, I lost my faith after the semi-finals. Th is year, I am determined to put a greater emphasis on mental preparation.”

“ W e havve becoome accusttomeed to cheeap and low w quallityy masss prroduct s: thhe aroomas that we havee registeeredd arre too direect.” Prior to the Championship, Péter was also given advice by a professional working in a very similar field – the only perfumer in Hungary with a degree from the Versailles Fragrance Academy, Zsolt Zólyomi. “Zsolt welcomed me in his showroom, where we sampled a range of fragrances and described them based on notes, such as spicy, woody and fruity. He told me that they were all made from high quality raw materials instead of cheap, chemically produced substitutes. I never

would have thought just how different natural ingredients would smell. Unfortunately, we’ve become accustomed to cheap and low quality mass products, which makes it difficult to recognize natural scents. To put it another way: the aromas that we’ve registered are too direct. The scent of a fruit, for example, is never as intensive in nature as it is in a perfume. I will go as far as to say that we register many scents inaccurately.” I can’t help but wonder what tricks a cup taster uses to clean their palate before a challenge. “My trainer Lajos Horváth suggested that I do a so called flavour diet: eliminate spicy and sweet foods, drink lots of water and stay away from alcohol for a while. Zsolt Zólyomi also gave me a piece of useful advice, which was to smell my own skin or a glass of clean water to neutralize my senses.” Péter tells me that he is defi nitely a caffeine addict, and when he’s going home after a long nightshift, all he can think about is fi nally waking up and having a cup of coffee. “In the morning, I always use an alternative method to brew coffee, like fi ltering, V60 or AeroPress. I rarely start my day with an espresso: fi lter coffee can be much more harmonious, elegant and tender. The flavours are toned-down, it’s very fresh and energetic. I usually make a 2 dl drink, which contains just enough caffeine to pick me up in the morning, but it’s not as wild flavour-wise as a double espresso. Sometimes I may even start my day with a cappuccino, but lately I’ve been passing on milk since I like to be able to fully taste and enjoy the coffee itself.” I can only agree: after tasting the dripbrewed fruity goodness, I think I too have been eternally swallowed by the Th ird Wave.

THE CHOCOLATIÈRE BEHIND THE HANDICR AFT CHOCOLATE MANUFACTORY

BONBONIER NEVER GAVE UP ON HER DREAM, AND NOW SHE MAKES HER OWN UNIQUE AND DELICIOUS BONBONS AND TRUFFLES , EACH OF HER CREATIONS TELLING A CHAPTER OF HER STORY.

“ I have created some flavour pairings that may seem bizarre, like my basil-olive, balsamic vinegar and salty-rosepepper bonbons.”

HOW DID YOU ARRIVE AT SETTING UP YOUR OWN CHOCOLATERIE?

My love for chocolate stems from my childhood: we travelled the world with my parents, and they never denied me the best quality chocolate that we could find. The thought of having something to do with chocolate one day lingered at the back of my mind, and by the age of 25, I was constantly babbling about opening a chocolate shop. Of

course I ended up choosing a different profession: I worked in the advertising field for 10 years. But the inkling that chocolate was my real mission was always there. I got a long book about chocolates for Christmas, and I read it religiously, wanting to learn everything there was to know. It was on the pages of that book where I fi rst came across boxes made out of chocolate. At the time, I couldn’t imagine ever being able to make them. But I was always the type who liked to give handmade gifts, and I liked the idea so much that in a few years I tried my hand at it. Everyone was blown away, and orders started to come in spontaneously. So I figured it was time to start thinking strategically. What did I have to offer that would distinguish me from other chocolate makers? The answer was simple: I would continue making chocolate boxes, because those were a curiosity on the market, and I could start creating my own selection of bonbons. I took an online course on setting up a company that deals with chocolate, from market research to actual chocolate making and wrapping techniques. Then, in 2011, the fi rst Sweet Days chocolate and sweets festival was held in Budapest, and I knew that all I wanted was to be there the next year, as an exhibitor. For an entire year, I spent night

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NÓR A ERDÉLYI,

•

CHOCOLATE EMPIRE , BUT HOW MANY ACTUALLY PERSEVERE ?

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CHILD DREAMS OF BECOMING KING OR QUEEN OF THEIR VERY OWN

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EVERY

Chocolate! LET’SSTICK TO

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after night in our workshop. Eventually, with the help and support of my partner, I managed to talk myself into giving up my job and dedicating my life entirely to chocolate. And so we were there as exhibitors at Sweet Days 2012, and it was a huge success. I’d accomplished two of my main goals: to be independent and to work with chocolate.

Spring 2015

Making bonbons also starts with tempering. Then we pour chocolate into moulds to create a thin shell, and we put them in the fridge to cool. Next, we pipe in the fi lling – which is usually a ganache made of cream, chocolate, a type of flavouring like alcohol or fruits, and occasionally butter – and when the fi lling sets, we seal the bottom of the bonbon with a layer of chocolate.

WHAT TECHNIQUE DO YOU USE TO MAKE THE CHOCOLATE BOXES?

WHAT SORT OF INGREDIENTS DO YOU USE?

Many people who see my boxes for the fi rst time think that the decorations, the bows and flowers on top of them are made of marzipan – in fact, they too are made of chocolate, just like the boxes themselves. Chocolate can be turned into a material with a texture that you can bend and mould into shapes. The basic process is called tempering. Let’s say we’re working with a 70% cocoa content dark chocolate. We heat it up to 45-50°C, and as the chocolate melts, its crystallized form falls apart. By cooling it down to around 27-28°C, we restore some of the crystals. There are two methods of manual tempering, one is when we lay the

I mainly work with a Belgian chocolate called Callebaut. It is a fine, prestigious, premium quality chocolate, but there are some French varieties that I’d like to work with more often because they are even better in terms of quality. In my opinion, Valrhona is the best chocolate currently available: they are a French company who have their own plantations in South America. There are three types of cocoa trees: Criollo, Forastero and Trinitario. The finest beans grow on the Criollo, and Valrhona owns a huge plantation of these noble trees that yield less but much better fruit than the others. Their products are quite expensive, of course, and the market demand for such high quality chocolate in Hungary is very limited, so I rarely get a chance to work with this particular chocolate.

“ I once made a Kékfrankos bonbon that was actually criticized for tasting too much like wine and less like chocolate. I took that as a compliment.” molten chocolate on a heat-absorbing surface, like a marble slab, the other is when we stir solid pieces of tempered chocolate into the molten substance to cool it down. Then, we heat up the chocolate to 32°C to make it malleable again. Th is is how we get chocolate that is shiny, that cracks and that has no whitish spots on it. I’ve made many, many stencils that I use to create the patterns, but what’s really important is to start moulding the chocolate at the right moment: if you try to shape it too soon, it’s still runny and it gets creased, and if you’re too late, it breaks when you try bending it. You only have a few seconds to shape the chocolate, which can be a lot of fun when you’re trying to make all six sides of a box at the same time. WHAT ABOUT BONBONS?

WHAT INSPIRES YOU TO CREATE NEW RECIPES?

In the beginning, most of my inspiration came from simple things that I loved and tried to recreate in the form of chocolate bonbons, like Sachertorte, rosé spritzer, champagne and Baileys. Today, I can get inspired by anything at all, just by walking down the street and spotting something, or waking up from a dream and having a moment of clarity. Sometimes, I’ll spend hours in gourmet stores browsing among spices, writing recipes in my head one after the other. And sometimes I get inspiring requests from customers: that’s the way my mint-lime bonbon was born, for example. WHAT ARE SOME OF THE MOST EXTREME COMBINATIONS YOU’VE COME UP WITH?

I am not trying to be extreme: my motto is “Let’s stick to chocolate!” But I have created some flavour pairings that may seem bizarre, like my basil-olive, balsamic vinegar and salty-rosepepper bonbons. I

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think my Baileys bonbon is unique too – even though it’s not at all unusual – because it’s especially creamy and I use a generous amount of Baileys to make it. My most popular creation is perhaps the rosé spritzer bonbon, which I didn’t even like at first, in fact, I was going to toss it, because I’m not a huge fan of white chocolate. But so many people keep coming back for it that in the end, I decided to keep it. MANY OF YOUR BONBONS CONTAIN ALCOHOL IN THE FORM OF A SPIRIT OR WINE ADDED TO THEIR FILLING. TO WHAT EXTENT ARE THE CHARACTERISTIC FLAVOURS OF THE DRINK PRESENT IN THE BONBON?

When I’m working with alcohol, I never add cream to the fi lling, so that it does not suppress the taste of the wine or spirit. I once made a Kékfrankos bonbon that was actually criticized for tasting too much like wine and less like chocolate. I took that as a compliment. I made it with dried cherries that I soaked in Takler Kékfrankos for a long time, and I think it turned out great. I also made a Tokaji bonbon with an egg yolk-based cream fi lling which brought out the characteristic notes of the wine perfectly. My bonbons do have a level of alcohol content: I never boil a cream that contains alcohol, since it also functions as a preservative.

DO YOU HAVE TO BE FAMILIAR WITH THE BASICS OF WINE AND FOOD MATCHING?

I am absolutely fond of wine, but I am not trained to recognize all the notes that may characterize a particular item. Just recently, a famous wine hotel commissioned us to make bonbons fi lled with their wine, and we had long discussions with their winemaker about the fl avours and aromas that he considered most characteristic of it. Based on this information, I came up with the right combination of ingredients and spices to use. In the case of chocolate and wine pairings, chocolate is usually there to enhance the fl avours of the wine, perhaps bring out notes that you wouldn’t even notice without it. WHAT ARE YOUR FUTURE PLANS FOR YOUR CHOCOLATERIE?

We would like to fi nd some more retailers who would become one of our select partners, and we’re also planning to take our products across the border, fi rst to Austria. From April on, our chocolate lollipops and four of our special bonbon selections will be available at the airport duty free store, which is a big step for a small, handicraft company like us.

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Mistress of

WINE

IF IT WASN’T FOR THE SUBTLE BUT SUBLIME LOGO ABOVE THE DOOR, IT WOULD ULD D BE EASY TO MISS THE ENTRY TO OF THE IMPOSING

ÁGNES HERCZEG’S WINE SCHOOL AT THE FOOT OOT T

BUDA HILLS JUST OFF CLARK Á DÁM TÉR. JUST LIKE THE PINK INK K-

AND-GRAY BLOSSOM THAT HAS SERVED AS AN EMBLEM OF HER PERSONALITY AND D HER MISSION FOR NEARLY A DECADE ,

ÁGNES HERCZEG, M ASTER OF WINE CAN N-

DIDATE , IS UNPRETENTIOUS, UNSWERVING AND UTTERLY GORGEOUS.

HOW DID YOU HAPPEN TO CHOOSE WINE AS A CAREER?

I was still in college at the time of my fi rst professional encounter with wine. We were organizing a school wine club in cooperation with Vinaret, and they eventually asked me to become the manager of their store in Győr. I learned a lot while I was working with them, especially about Hungarian wines. In the following years, I strayed to the fi nancial sector, and when my

“Going that extra mile by choosing the right glasses and putting on some music is well within the bounds of blameless indulgence.”

daughter was born in 2007, I decided that hat I wanted to dedicate my life to wine and set out to to gain the necessary educational background. Byy d. B 2010, I had my WSET diploma in my handss an and nd my fi rst book had been published as well. WHAT STAGE OF STUDIES ARE YOU AT? T?

As of right now, I am the fi rst Hungarian womwom man to be taking part in the Master of Wine proproogramme – the course leading up to acquiringg th the he most prestigious title of our trade. I am prepareparing for the fi nal exam, which I’ve already take taken en once, with scores that I am very proud of. Even Eveen though I knew that most candidates do not passs on the fi rst attempt, I wanted to see how I could coulld

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P hoto: Pรก l Nรก n รก s i

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Spring 2015

take the mental strain. The exam is very complicated, candidates are required to blindly taste 36 different wines (which they have to assess for variety, origin, winemaking, quality and style), and write 14 papers on various topics through the course of four days. I have to say, I think I performed really well! Now I know exactly what my strengths and weaknesses are, which will be a great help as I prepare for the next exam.

gone bad and what to expect from a certain bottle can really enhance our everyday experiences. We also teach more complex practical skills, like the basic techniques of wine tasting and food pairing. The MW programme is all about the diversity of the community and the many ways that we can approach wine: this is the spirit that I wanted to recreate at the wine school. IF WE WERE TO POSITION YOU ON A

YOU MUST BE UNDER A LOT OF PRESSURE,

SCALE BETWEEN ‘WINE SNOBBISM’ AND

AS THE FIRST HUNGARIAN FEMALE CAN-

‘WINE DRINKING FOR PLEASURE’, YOU’D

DIDATE.

BE MUCH CLOSER TO THE LAT TER END.

I don’t stress about it because no one is forcing me to go through with it, it is entirely my choice. I’m doing it for myself, I’m paying for myself and I’m enjoying the road. But I hope that when I finally become Master of Wine (MW), the country will also profit from it.

Because that approach is much closer to life. I could hold my pinkie fi nger up and assume the role of the white-gloved expert, but that has nothing to do with pleasure – the very purpose that wine was invented for. Wine is not the elitist whimsy of a tightly closed group of a few privileged people. It is meant to beautify everyday moments and make them memorable. Don’t get me wrong – I love opening champagne bottles with a blade, but I only do that for fun, not to show off. And going that extra mile by choosing the right glasses and putting on some music is well within the bounds of blameless indulgence.

WHAT WOULD IT MEAN FOR HUNGARY TO FINALLY HAVE ITS OW N MW?

Wherever a country’s MW goes, the country goes with them. Just look at Konstantinos Lazarakis, the Greek MW: he carries Greek wines and the country of Greece around on his shoulders wherever he travels, just like an ambassador.

“MW s are passionate, down-to-earth people whose affection for their job is so strong that it suppresses any inclinations towards elitism.” YOU’VE

RECENTLY

SET

WINE

SCHOOL WITH COURSES OPEN TO EVERYONE, FROM AMATEUR WINE ENTHUSIASTS TO PROFESSIONALS. WHAT ARE YOUR MAIN PRINCIPLES OF TEACHING?

Our courses focus on the aspects of wine that are related to everyday wine consumption. I believe in providing diverse knowledge in the form of short, colourful and exciting lectures instead of courses that take months and months to complete and have nothing to offer but dry, generalized information. It may not seem like a huge skill, but knowing which wine to buy for what occasion, how to spot a low-quality wine or one that has

THERE ARE ONLY 318 MWS IN THE WHOLE WORLD – THAT SEEMS LIKE A TIGHTLY CLOSED AND CAREFULLY SELECTED GROUP. ARE THEY NOT PRONE TO ADOP TING AN ELITIST AT TITUDE?

MWs are the most relaxed, open-minded, easygoing people. They are all profoundly humble, because the more you learn, the more you realize how much more there is to know. Wine is a very complex subject, no-one in the world knows everything about viticulture, vinification, bottling, trade, communication, and so on... It’s an endless knowledge that cannot possibly be possessed in entirety by a single person. MWs are passionate, down-to-earth people whose aff ection for their job is so strong that it suppresses any inclinations towards elitism. Th is is also true for the most prominent faces of the industry. Baron Éric de Rothschild, who is the most prominent fi gure of the Bordeaux Left Bank, is one of the kindest and most patient people I’ve

L U X U R Y F U N Z I N E

ever met. He has a certain noble composition, but you could never call him a snob. Every time our paths cross, he recites a French poem about women named Agnes and then translates it to me. He is the epitome of humility and passion. And, if you want a Hungarian example, so is András Bacsó, the leader of one of Tokaj’s most famous vineyards, Oremus. I think that unless you have something to cover up, snobbism is not an issue. If you are straightforward, honest and passionate about something, then you don’t have to prove anything to anyone.

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Spring 2015

WHAT IS THE ROLE OF LUXURY WINES IN

P hoto: Pá l Ná n á s i

HUNGARY AT THE MOMENT?

Luxury wine trade is a thriving branch of the global wine industry, and the members of the market segment interested in it are feverishly buying and selling vintages of the most prestigious cellars. However, in Hungary, only a rare few care to enter this game. Cult wines are not meant to be consumed, but rather to be kept as investments or collectibles; a practice that has not yet taken root in Hungary. The opposite is true for China, where a wine collection can play a more significant part in displaying the owner’s wealth than a collection of luxury cars or watches. In Hungary, you will undoubtedly find two or three bottles of luxurious foreign wine in affluent households, since they do retain their function as status symbols. But the wisest are fully aware that for the purpose of actual consumption, these wines can be well substituted by Hungarian wines of similarly high quality that are much less expensive. There is no need for a deeper knowledge of foreign wines, no point in being up-to-date on the current price of a certain Château Lafite vintage or other Bordeaux or Burgundy prestige wines. A Hungarian business partner is likely to appreciate a Hungarian wine with a label that they recognize more than a foreign one that they have never even heard of and are completely oblivious of its value. Why open a 300 thousand forint bottle of Haut-Brion if your partner is more likely to respond positively when he hears the name Attila Gere or Sauska Cuvée 5? Hungarians are very patriotic when it comes to wine – we compare Hungarian wines to Hungarian wines and position them in relation to each other.

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The

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Stories a

Spring 2015

DRESS COULD TELL OUR FAMILY NAME IS THE FIRST GIFT WE RECEIVE FROM OUR PARENTS. IT IS OUR HERITAGE: IF EVERYTHING ELSE WAS TAKEN AWAY, IT WOULD STILL REMAIN. IT SIGNIFIES THAT WE BELONG. THESE ARE JUST SOME OF THE REASONS WHY ESZTER

CSELÉNYI DECIDED TO GIVE HER FAMILY ’S NAME TO HER FASHION BRAND, HER LIFE’S WORK, WHICH SHE HAS BUILT TO BE WORTHY OF PRESERVING HER MEMORIES AND CARRYING ON THE LEGACY THAT WAS PASSED DOWN TO HER.

FAMILY

AND BELONGING: THESE ARE THE STORIES BEHIND THE DESIGNS OF CELENI.

YOUR SHOWROOM IS NOTHING LIKE THE USUAL DESIGNER BOUTIQUE… IT REMINDS ME OF THOSE FANCY SALONS IN HOLLY WOOD MOVIES FROM THE 50S AND 60S, WHERE KIM NOVAK WOULD STAND ON A STOOL TRYING ON ONE STUNNING GOWN AFTER THE OTHER.

That is exactly the experience that I am trying to bring back into fashion. Shopping should be exciting, it should be an adventure, and women should feel like they are the centre of attention all along! The clothes that I design for my collections come in regular sizes, but my showroom is

“ We cannot live up to our full potential as women until we learn to completely accept ourselves and embrace our own beauty.”

specifically for personal orders of evening gowns, wedding dresses and suits, tailored to fit. I have a few sample pieces on display to serve as sources of inspiration, but my clients usually have an idea of what they want, however vague it may be. And my job is to help them figure out what it is exactly. Whenever a lady arrives, we sit down, have a cup of coffee, talk for a while, start getting to know each other. I want my clients to feel special, to know that they are being cared for, that they are in good hands. And that is not something that you get when you order something online or pop into a fast fashion store, buy the fi rst thing that seems to fit relatively well, only to throw it away in a few weeks. Deciding on a style. Choosing a colour, a pattern, a fabric. Trying on a dress again and again. Getting ready for a big event. Settling eternal fashion dilemmas. I think that because of

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our continuous lack of time, the thrill of these exciting moments, this profound experience is missing from fashion today.

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IT SOUNDS LIKE YOU FORM AN INTIMATE

Spring 2015

RELATIONSHIP WITH YOUR CLIENTS.

Of course, because they need to be able to trust that I know what’s best for them, and that the dress will turn out exactly the way they imagine it. I always put my clients fi rst: if they call me up on Sunday saying that they have somewhere to be the next morning and need a new dress, I’m sure to rush to their aid. And my reward? The text that I get the next day, saying that they were drenched in compliments and that they felt really pretty and comfortable in their skin wearing the dress I made. Or a thank you letter from a bride saying that she’d never felt so beautiful in her life. I wouldn’t trade that feeling for anything else!

“ I love living in Budapest. My roots are here, and my roots are a part of my brand, that is why I chose to give it my name.”

WHAT IS THE ONE THING THAT ALL WOMEN SHOULD LEARN ABOUT FASHION?

SOMETHING PERSONAL?

We cannot live up to our full potential as women until we learn to completely accept ourselves and embrace our own beauty. Wearing clothes that reflect your personality, that fit you perfectly, that are fl attering in every way can help a lot with learning to love yourself. And that is the only goal you should strive for.

Yes. I think that it is very important for every collection to have a story. Th is one stems from a memory of my grandfather’s house, where he lived on the bank of the Danube in Horány. He loved gardening, and he had a huge, glass-walled indoor garden where many, many plants grew. Remembering that place inspired me to create the floral prints that I matched in colour and style to the paintings by PAF. We shot the pictures for the campaign and the look-book on the riverbank and inside a boathouse. All the pieces fit together, and the collection became complete.

WHAT IS THE CONCEPT BEHIND YOUR SPRING-SUMMER COLLECTION?

Whenever I design, I draw inspiration from something Hungarian, something valuable. It could be anything that is, in my opinion, world class: not something overused or clichéd, but a real value that seems to have been overlooked at home as well as abroad. Th is time, I worked together with Hungarian contemporary artist PAF, a widely recognized painter who I think is a perfect example of a treasure that we should be immensely proud of. Most pieces of the collection are handpainted, which makes for a very special approach and connects the designs to the 2015 painted trend that big fashion houses have introduced. And there was another source of inspiration too.

YOU’VE ALREADY BROUGHT OUT THE SPRING-SUMMER COLLECTION TO THE RUNWAY IN THE AUTUMN SEASON, BUT WILL THERE BE A SPRING EVENT TO CELEBR ATE IT?

Yes, we are preparing for a very special event which will be more like an exhibition than a fashion show. We’re going to hang the pieces of the collection on the walls of a gallery, along with PAF’s paintings. We will also be doing some action painting on site. We wanted something dif-

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Spring 2015

“ Whenever I design, I draw inspiration from something Hungarian, something valuable.”

L U X U R Y

OF SHOES, THAT YOU ARE ADMITTEDLY

F U N Z I N E

A SHOE-MANIAC. WHAT OTHER OBSES-

•

SIONS TORMENT YOU?

Spring 2015

ferent, something that we ourselves have never tried before, and to make the connection between fashion and art visible. It will be an out-of-theordinary fashion event, sort of like an installation. I’m very excited to see the reactions of the guests. I KNOW THAT YOU ARE ESPECIALLY FOND

I have collected a ridiculous number of antique rugs. They interest me so much that I’ve been seriously considering starting to study art appraisal, but for that I would need 48 hours a day at my disposal. I am also a fan of antique jewellery, and of course, you need a few bags to go with your shoes... So yes, I’m battling quite a few of those addictions. Or at least those living around me are. HOW ABOUT DOGS? YOUR TWO BEAUTIFUL AGARS THAT REFUSE TO LEAVE YOUR SIDE FOR EVEN A MINUTE.

They are a very important part of my life, I couldn’t imagine being without them. I own horses, too, because I used to do horse racing, but now they are retired and spending their days peacefully at our country house. I often go there myself when I get dizzy from city life. WHY DID YOU DECIDE TO SET UP SHOP HERE IN BUDAPEST AND PURSUE YOUR INTERNATIONAL AMBITIONS FROM HERE?

To be honest, I have lived abroad for several years, and I came to the conclusion that fi nding your way in life does not depend on where you are in the world. If you run away from a problem, another one will be waiting for you wherever you go. I was always desperately homesick when I was away: there is so much that ties me here, and I love living in Budapest. My roots are here, and my roots are a part of my brand, that is why I chose to give it my name. The reason I changed it to Celeni is because I do want it to become an international brand one day: that is my dream. I am continuously negotiating with retailers abroad, and the Celeni collections are already being sold in several multi-brand stores abroad, for example, in downtown Vienna. But I have decided to try and fight for worldwide recognition without leaving the place where I feel most at home.

L U X U R Y F U N Z I N E •

Spring 2015

Liberate Your Senses with tago arc! THE

TAGO ARC IS A SENSUAL , ELEGANT PIECE OF JEWELLERY STRAIGHT FROM

THE FUTURE: A FULLY FUNCTIONAL , SIMPLE , STYLISH AND SOPHISTICATED DESIGN, WITH CUTTING EDGE TECHNOLOGIES.

HE TAGO ARC WORKS like manydifferent luxury bracelets in one, as the design displayed on it can be changed any time to match the wearer’s mood and outfit. It has no buttons, it doesn’t require any cords or charging whatsoever! It is a perfect example for a seamless fashion and technology experience.

“ The design can be changed any time to match the wearer’s mood and outfit.” Imagine having one high quality bracelet that can have an infinite number of designs and patterns on its surface. It always matches the wearer’s mood and clothing whether you choose to wear it for work, a date or a party at night. It allows you to express yourself anytime, anywhere. You don’t need to do anything else apart from tagging the desired pattern onto the bracelet from your tago app. According to the European developing team, the tago arc is not just another smart wearable, but a chic high fashion accessory. Just tag it and wear it! It is different from anything currently present on the market. Zoli Kovács, founder and CEO of Liber8 Technology, the company behind tago arc believes: “We are currently witnessing the dawn

of a jewellery revolution, where fashion and tech collide. We believe that our products will contribute to the merging of these two industries.” The tago arc is basically a full width E ink surface display with an NFC chip. Due to the technical characteristics of these components, it is possible to change the image display of the bracelet’s surface whenever you desire. You can download pictures from the #tago app where the coolest designs, patterns and drawings are at the tip of your fi nger. You will also be able to take pictures with your phone, upload them into the app and tag them on your wrist. The tago arc does not need to be charged, plugged into a power source or your phone, ever. It is an accessory that will not let you down and is with you 24/7, always perfectly fitting into your dynamic lifestyle. Nowadays, women from all walks of life are looking for fashionable, customizable and easily accessible, stylish solutions. The tago arc bridges this gap perfectly. The team believes that Apple will enable the NFC technology outside of Apple Pay in its iPhones in the near future, so that along with Android smartphone users, iPhone users may also enjoy the “tago feeling and lifestyle”. The tago arc is available to order on Indiegogo.

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Spring 2015

“ We are currently witnessing the dawn of a jewellery revolution, where fashion and tech collide. We believe that our products will contribute to the merging of these two industries.”

E X PERT 'S

O P I N I O N:

U X U R Y F U N Z I N E •

Spring 2015

The Scents of Spring A

FEW WEEKS BEFORE THE WEATHER

TURNS SPRING-LIKE, NATURE STARTS GETTING READY BENEATH THE SNOW. A DOG, A FOREST ANIMAL, OR SOMEONE

WITH AN UNUSUALLY KEEN SENSE OF SMELL CAN DETECT THE NEW SCENTS AND FEEL THE BUZZ BEGIN LONG BEFORE THE NEW SEASON ARRIVES.

WALKING DOWN

FASHION STREET AT THIS TIME OF THE YEAR, I CAN FEEL THE WIND BLOWING FROM THE DIRECTION OF THE

DANUBE AS IT WEAVES THE SCENTS OF THE COUNTRYSIDE

INTO THE FABRIC OF THE CITY. I STAND THERE WITH MY EYES CLOSED AND IMAGINE THAT

I’M IN THE MIDDLE OF A QUIET FIELD SOMEWHERE IN THE COUNTRYSIDE...

“Not only can a perfume that is too heavy weigh down on you, it can infiltrate your relationships as well.”

HE AIR IS FULL OF THE SCENT of nature coming to life, of water starting to circulate in plants, of the ground melting and soaking through, of bacteria and microfungi awakening. Plants are unimaginably strong. They can break free from anything, and when spring approaches, they thirst for renewal. Th is is the urge, the longing that we humans feel too. Th is is why we so intensively crave change. In our climate, it is the family of Rosaceae, flowering plants that include not only roses, but other species such as apple, pear, apricot, plum, cherry, peach and almond trees that blossom around this time. Sometimes, it feels as though all the buds explode at the same time, covering trees in pure white or light pink bride’s veils. The sight and the scents can be so dream-like, it is hard to put into words. The scents are sophisticated, light, marzipanish, and delicately creamy like an old face powder... As soon as the fi rst rays of sunshine appear, we take off our winter coats, leaving more of our skin uncovered. As the weather gets warmer, the heavy, sweet, spicy perfume that we’d been using throughout the colder season starts to weigh down on our

L U X U R Y F U N Z I N E •

light, green light, wet or aquatic fresh, citrusy fresh, even cologne fresh... There are endless possibilities and new logic appearing on the horizon ceaselessly. The way we apply perfumes also changes with the season. You may start using the eau de toilette, eau de cologne or body mist version of the same fragrance you used before. During the autumn-winter season, we spray perfume on the hottest points of our skin, our wrists, our elbow bends, our cleavage, our belly buttons, our knee bends – the Ancient Greeks used to put it eve-

“Plants are unimaginably strong and when spring approaches, they thirst for renewal. This is the longing that we humans feel too.” rywhere. These spots are where our veins radiate heat towards the outside, and they work like tiny glaciers, giving off the scent of the concentrated fragrance little by little as they pulse, like signals to the world. In spring, however, we can start applying perfume in a different way. After taking a shower, pat your body almost dry with a towel, then spray your perfume out in front of you, and take a step forward so it can fall onto your skin, descending like a mist and covering you like a gown made of silk. Wait one minute until your skin dries, put on a beautiful, loose blouse and you are good to go. Everyone will feel the scent of your perfume if you lean close to them, but it will not be overwhelming. And of course, there is a playful eroticism to it, as the scent will remain on your whole body even after you take off your clothes. Zsolt Zólyomi perfumer

Spring 2015

skins. It suddenly becomes too much. We start perspiring and the fragrances quickly evaporate from the large exposed surfaces of our skin, becoming almost obtrusive. Soon, we get to the point when we can’t take it anymore, so we switch to a lighter perfume. And we are right to do so: the changes in the weather and our bodies as well as our psychological needs dictate a desire for change. If you put on a heavy, sweet, greasy perfume on a sunny spring afternoon, people will think that you’ve lost your mind and that you are so deluded you think you’re on your way to a fancy evening ball. Not only can a perfume that is too heavy weigh down on you, it can infi ltrate your relationships as well. The perfume industry has come up with a perfectly logical response to this situation: there are perfumes marketed as autumn-winter fragrances, and ones that are specifically meant to be worn during the spring-summer season. However, just as in the case of Pour Homme and Pour Femme variations, these are no more than decisions made by a marketing team. You should only switch to a lighter perfume if you feel like it is what’s right for you, not because you were told to do so! Do not believe everything ab ovo. Keep in my mind that your very own, unique skin may react differently to changes in the environment, or it may not react at all! Small brands, handicraft perfume manufacturers don’t even bother trying to keep up with the seasons: they may release a lighter perfume for Christmas, just because. I believe that when it comes to fragrances, all constraining stereotypes should be discarded in favour of our personal needs. Now all that is well, but what does light actually mean? Professionally, it refers to a less concentrated, less dense, and also less lasting fragrance. But it could be of several different styles: it could be floral

L U X U R Y F U N Z I N E •

Today’s

Spring 2015

IN BUDAPEST A S A EUROPEAN CAPITAL AND AN INTERNATIONAL CITY, BUDAPEST HAS A LIVELY CONTEMPORARY ART SCENE WITH NEW GALLERIES, EXHIBITIONS AND FESTIVALS EMERGING ONE AFTER THE OTHER . CONSULTANT

INDEPENDENT

CURATOR AND ART

H AJNALKA SOMOGYI TALKS ABOUT NEW INITIATIVES, THE MOST

ACCOMPLISHED HUNGARIAN ARTISTS OF OUR TIME AND HER WORK OF ADVISING COLLECTORS OF CONTEMPORARY ART.

YOU ARE AN INITIATOR AND PROJECT LEADER OF OFF-BIENNALE BUDAPEST, AN ART FESTIVAL WHICH IS A BRAND NEW INITIATIVE IN THE FIELD OF CONTEMPORARY ART. WHAT TYPES OF EVENTS DOES THE FESTIVAL INVOLVE?

The focus of OFF-Biennale is contemporary visual art. Exhibitions and events will be scattered all over the city, with approximately 100 projects in different venues, from commercial galleries to empty shops, office buildings, public spaces and private apartments. For a few weeks between 24 April and 31 May, art will infiltrate the entire city. There will be small projects by young aspiring artists as well as large projects by the most important figures of Hungarian contemporary art. World renowned art-

ists have also accepted our invitations and are bringing their works to be exhibited here in Budapest. We have organized several different types of events related to art, including actions in public spaces, exhibitions, talks, screenings and performances. The name signals the “off ” status of the Biennale compared to mainstream biennale structures, and underlines the fact that the festival is being organized independently from the art institutional system in Budapest, without any funding from the state. WHAT ARE THE MAIN GOALS OF THE BIENNALE?

Our goals are manifold, one of the most important ones being to find a broader audience for contemporary art. We would like to get through to those who

“ In this process of falling in love, the insight that an art historian or a curator can provide is invaluable.”

P hoto: C s a b a A k n a y

show in Ludwig Museum a few years ago, but he hasn’t had an exhibition in Hungary ever since, so OFF-Biennale is bringing him back with an installation that was just bought by the Centre Pompidou in Paris. Also taking part in the Biennale is István Csákány, whose installation was exhibited at dOCUMENTA, the most important contemporary art show organized every 5 years, and Ádám Kokesch, who is to be featured in the Future Greats issue of Art Review, an international art journal, which is a very rare achievement for a Hungarian artist. YOU ALSO WORK AS AN ART CONSULTANT FOR COLLECTORS. WHAT DOES THIS PARTICULAR LINE OF WORK INVOLVE?

I come from the not-for-profit field and I have a curator’s mind, so the reason I started art consulting

Spring 2015

NATIONAL LEVEL?

There are globally acclaimed Hungarian artists in every generation. Some of the Neo-Avantgarde artists who started their work in the 60s, like Dóra Maurer and Tamás Szentjóby, have their place in the most important monographs written about art in the 60s or 70s, and their works are present at art exhibitions around the world. Art history is still being written and re-written, and other artists from this generation are bound to gain recognition in time. There are also recognized figures in the generation who are now in their forties or fifties, like Attila Csörgő, who was granted the Nam June Paik Award, Europe’s most important prize for media art in 2008. He had a big retrospective solo

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CONTEMPOR ARY

F U N Z I N E

HUNGARIAN

ART ISTS ARE RECOGNIZED ON AN INTER-

U X U R Y

WHICH

read books, go to the theatre, watch films on a regular basis, but don’t necessarily go to see exhibitions. We also want to give Hungarian artists a chance to be seen, and to be evaluated in relation to the international artists next to them. Another very important goal is to strengthen international connections: we’ve invited curators and artists as participants, and critics and other professionals as guests to come and see what we mean by art here in Budapest.

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Spring 2015

was to share my knowledge, to allow others to benefit from my insight. For me, pieces of artwork are not defined by their prices, but by the thoughts they convey and the aesthetics they use. I began consulting with young Hungarian collectors who had just started looking into contemporary art. We had long conversations and went to look at a lot of art together. What really gripped me about this job was the excitement of trying to find images or thoughts that my clients can feel close to, that they can develop an intimate relationship with. In this process of falling in love, the insight that an art historian or a curator can provide is invaluable. Most artists are represented by galleries, a relationship that must be respected by all means, but it still helps that I have direct, well established work relationships with artists.

HOW DO YOU GET TO KNOW YOUR CLIENTS’ TASTE IN ART?

When I’m working with a collector, I try to understand what it is that they are moved by, what features, what dynamics, what aesthetics a particular person can identify with. They usually have very clear ideas, they just don’t have the means to translate them into art. In each case, I try to think with their mind, and make sure not to force my own taste upon them. As I am not an investment adviser, I could never recommend something that I do not believe in. I’m always honest about my opinion and I never withhold any information, but the collection has to be about the collector. WHAT CAN YOU TAKE AWAY FROM THIS JOB?

SO YOUR CLIENTS ARE NOT SIMPLY LOOKING FOR THE BEST DEAL, BUT FOR A PIECE OF ART THAT HAS A SPECIAL MEANING TO THEM.

My clients are all people who have a genuine interest in art. For them, art is not only an investment, but a hobby that they take very seriously. Collectors always start small, so we have mostly been looking into Hungarian art, but by now, a number of my clients have reached a point when they want to broaden the horizon and are ready to look around internationally. So we visit international fairs together, and as they get to know the international art scene, the Hungarian artists that they are more familiar with fall into perspective. They can start comparing them to what they see in London or Paris. WHEN YOU’RE SELECTING POTENTIAL BUYS FOR A COLLECTOR, DO YOU CONSIDER WHETHER THEY WILL FIT INTO THE COLLECTION AS A WHOLE?

Yes – and that is a curatorial job. So in the end, it turns out I have not strayed far from my original profession at all. Giving advice on how to compile a collection is curating in the long-term. There is always a concept behind a collection, and the result is a little more than the sum of the pieces, just like in the case of an exhibition.

“ I ’m always honest about my opinion and I never withhold any information, but the collection has to be about the collector.”

I get to speak about art to people who come from a field outside of art. Consulting is an educational process, and my clients aren’t the only ones who learn: I also have to learn how to look at art from different perspectives, how to translate my professional way of thinking into their language. WHAT TYPE OF PERSONALITY DOES AN ART COLLECTOR HAVE?

My clients are very open to new experiences and are ready to explore areas that are fairly unknown to them. They are eager to develop their taste and their knowledge to a level where they can make decisions in a field that is constantly in motion, that changes from day to day and is fairly unpredictable. Collecting contemporary artwork is much riskier than collecting Baroque furniture, for example. There is always something happening, new trends, new events suddenly gaining unprecedented importance, others completely disappearing. You have to be very brave to jump in. And to be able to cast a vote in this uncertain environment, you have to be someone who enjoys the thrill of taking a risk. HOW COMMON IS IT IN HUNGARY FOR PEOPLE TO COLLECT ART?

In Hungary, as opposed to the New York or Paris art scenes, where it is considered almost natural for well-to-do people to collect art, it is still a very special hobby. It has not yet become a norm, so Hungarian art collectors are definitely pioneers, and they enjoy being the fi rst to dive into something that is still seen as a curiosity.

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Spring 2015

WALKING TOWARDS THE DANUBE DOWN R ÉGIPOSTA UTCA, ONE MIGHT NOTICE AN ARCHWAY THAT LEADS INTO A COURTYARD SURROUNDED BY BUILDINGS.

THERE IS SOMETHING UNUSUAL ABOUT THE

AREA CLOSED OFF FROM THE BUSY STREET: IT HAS AN AIR OF INTIMACY, WITH SEVERAL MINIATURE SHOP WINDOWS CROWDED AGAINST EACH OTHER , BEARING SIGNBOARDS S THAT SEEM LIKE REMNANTS OF A TIME LONG GONE .

A MONG

THESE STRANGELY ELY CHARMING BOUTIQUES HIDES THE O ONLY PIPE SHOP IN DOWNTOWN

BUDAPEST EST, A SANCTUARY FOR THOSE WHO HAVE NOT LOST TOUCH WITH

THE WORLD IN N WHICH THE HABIT OF PIPE-SMOKING STANDS FOR AS A SYMBOL .

L U X U R Y F U N Z I N E

HE STORY OF THE COMPANY BEGAN IN 1880, WHEN THE cur-

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Spring 2015

rent owner Viktor Zöllner’s great-great grandfather Lipót Gallwitz opened the fi rst woodturning workshop in Pest. He began making handicraft pipes and artefacts which he sold next to products from the world’s most prominent manufacturers of luxurious goods and quality pipes. Later, his sons were the ones to set up the Gallwitz Brothers Company at 9 Párisi utca. Viktor Zöllner believes that the key to their success lay in the large variety of the goods and services they offered. “They dealt in everything that a well-to-do citizen could wish for at the time, be it a masterfully crafted pipe, an elegant walking stick, an ornate chess set, an artefact made of ivory or a valuable piece of old jewellery. In addition, they provided services that were in high demand, like making and repairing everything from pipes to lighters and lace fans, as well as restoring artwork.” Business flourished well into the next century, surviving even after the shop was hit by a grenade during the wars, only to be nationalized in 1952. It wasn’t until years later that the current owner’s grandparents could recover the company’s rights and reopen a replica of the original shop at a temporary location. “After my grandfather, György Gallwitz passed away in 2003, I was the one to take over the business. I opened this shop on Régiposta utca hoping that it could serve as a reminder of the company’s glory days,” recounts present owner Viktor Zöllner. Compared to the days when the business was thriving, at a time when gentlemen were socially expected to smoke pipes, pipe culture today concerns a much smaller circle. “Business has been down lately because of the lobby against smoking and the current state of retail in this part of the city. Nowadays, for a small downtown shop, even being able to stay open counts as a success,” says Viktor Zöllner. However, there are still those who value handcrafted pipes and enjoy

“ I opened this shop on Régiposta utca hoping that it could serve as a reminder of the company’s glory days”

the feeling of nostalgia that descends upon them when they light a beautifully worked piece. The way that the owner phrases it: “There is something spiritual about the act of smoking a pipe. Sitting down and ceremonially stuffi ng a pipe is about much more than quenching our thirst for nicotine. It is a certain type of lifestyle.” Now that it is more of a curiosity than a norm, how does one arrive at the decision of buying a pipe? “Most pipers have a cherished memory of an ancestor who used to smoke pipes, and they see fit to follow in their footsteps. Some people start smoking pipes simply because they are trying to quit cigarettes. Others just feel a strong urge to become pipers. A pipe is still considered an object of high prestige: it is a serious and masculine accessory, and it will always be a thoughtful and worthy gift for a man. Lots of politicians, businessmen and artists, especially actors smoke pipes, and university students occasionally buy them too because they see them as stylish accessories.” The owner also reveals that people rarely buy pipes on a whim. Each purchase is preceded by at least some consideration: customers spend an hour or two in the shop before they make a choice, they may even come back a few times. And the price is not the only reason why decisions aren’t made hastily. “Buyers like to hold each item in their hands and observe their details, because that is the surest way to tell whether they like their shape, their size or their weight. In the end, the pipe that is just right for a particular person calls out to them and the choice is obvious,” says Viktor Zöllner. Even in the case of a very expensive piece, there is the risk of a pipe being faulty, which greatly decreases its value. That is why ordering pipes online is not the best idea. According to Viktor Zöllner, the only place where one should seek to buy a pipe is a pipe shop. “Pipes can only be sold at a shop that specializes in selling them. They can’t just be put on a shelf among all sorts of other wares, or they’ll get lost. You need to have a level of insight or expertise if you are trying to sell pipes, because customers are always looking for the most trustworthy sources.” With its wide selection of handcrafted high-quality pipes, the Gallwitz pipe shop still functions

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pany’s profi le. Today, people who buy walking sticks actually need them because of a limp or an injury. But walking sticks still function as supremely elegant, formal accessories too: our stock includes ones with silver or Art Deco-style handles, and even Cavalier-style swordsticks,” says Viktor Zöllner. The owner is now considering turning the shop into a club that could be used for casual meetings and evening get-togethers for pipers, perhaps accompanied by wine tastings and other such events. He is making plans for coffee tables to be placed in front of the shop, making the already cosy place even friendlier and welcoming not just for regular customers, but for curious passersby too.

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“ In the end, the pipe that is just right for a particular person calls out to them and the choice is obvious.”

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as a safe haven for pipe enthusiasts and a reliable retailer for collectors. “We sell classic Englishstyle pipes with simple, straight or curved designs, like basic Billiards or Apples, some of which have been continuously manufactured for the past 100 years. We also have more extravagant, Italian-style pipes that come in all sorts of exciting shapes, and unique pipes, some of them based on very modern concepts of design that belong to the category of the most luxurious pieces. Collectors are often interested in our meerschaum pipes, which are made from hydrated magnesium silicate, a mineral that can be found in deposits in Turkey, instead of briar cut from the root of the tree heath. Meerschaum can be carved into meticulously detailed shapes: you can find antique pipes of this kind that depict a sophisticated coat-of-arms or a detailed battle scene. As the pipe is being used, some of the tobacco gets absorbed by the porous substance, gradually discolouring it so that the perfectly white pipe turns golden brown in time. Such aged, majestic pieces can be of great value to a collector.” In addition to pipes, the shop also stocks another type of gentlemanly accessory. “Walking sticks have always been a fundamental part of the com-

L U X U R Y F U N Z I N E

THE ELYSIAN FIELDS

ARE THE SYMBOL OF AN EASY, BLESSED, AND ETERNAL

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LIFE , THE HAPPINESS AND HARMONY THAT ALL HUMANS DESIRE .

BOGLÁRKA

Spring 2015

BÓDIS, THE DESIGNER BEHIND THE BRAND ELYSIAN IS LIKE A MESSENGER FROM SUCH A WORLD, COME TO DISPEL THE CLOUDS THAT DARKEN OUR LIVES, WITH THE HELP OF HER GRACEFUL CALMNESS, HER SERENE SMILE AND A BRAND THAT SHE HAS DEDICATED TO MAKING US FEEL MORE AT PEACE .

Blossoming

ROOFTOPS WHAT IS AN IDEAL ELYSIAN WOMAN LIKE?

Elysian is essentially for working women above 25, most of who also have children, and lead busy lives trying to fi nd a balance between their career ambitions and their family. My muses are women who can create that sort of harmony, without forgetting to be women in the meantime. YOU OFTEN WORK WITH ARTISTS AND CELEBRITIES. WHO AMONG THEM ARE THE MOST ELYSIAN-LIKE?

A perfect example would be Kati Wolf, a gorgeous singer who I’ve had the chance to work with on multiple occasions. We chose her to present our new collection on the runway last fall, and I recently designed a costume for her that she wore

“A woman’s thirst for knowledge, her desire for a weapon other than her beauty are the values that we are really impressed by.”

to her live performance on the stage of the television show A Dal 2015, the national pre-selection competition of the Eurovision Song Contest. She has a charming personality and she is defi nitely an idol to look up to. I felt a similar connection with Lili Felméry, who was the face of our fall-winter collection. As a ballerina, she couldn’t have been a better choice for a collection that was inspired by the lines and dynamics of dance. Singers Adrienn Szekeres and Adrienn Zsédenyi often wear Elysian dresses to the stage too, and since I admire them both as people and as performers, working with them is an honour. They are all true Elysian women who are strong, confident, ambitious – and kind, which is essential to having a captivating personality. And they all know how to take care of themselves and their beauty. SO YOU'D ALSO LIKE TO REMIND WOMEN HOW IMPORTANT IT IS TO PRESERVE THEIR BEAUTY AS MUCH AS THEY CAN?

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Spring 2015

“A woman who has found harmony with herself is much more noticeable than a dress that is trying too hard to stand out.”

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The need for taking good care of ourselves should come from within, but yes, I think that it’s important not to just give up and let go. Time passes and we’re all touched by it, but that doesn’t mean there is nothing we can do in order to remain healthy and beautiful. ELYSIAN SEEMS TO DISTANCE ITSELF FROM ALL THAT IS SUPERFICIAL.

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Spring 2015

I would like Elysian to be known as an intelligent brand, in the sense that even though it’s a fashion

than a tool. A woman who has found harmony with herself is much more noticeable than a dress that is trying too hard to stand out. WHAT IS YOUR SIGNATURE STYLE LIKE?

They say that Elysian dresses are so beautiful because they are very simple in the best sense of the word. I think that our secret lies in clean cuts and matching different materials cleverly. I wouldn’t say that my dresses have no ornamentations at all: I love manipulating textiles and surfaces, like adding studs to a certain piece where you wouldn’t expect them to appear. I also like to re-imagine certain pieces of clothing using unusual materials. For example, the autumn-winter collection included an evening gown that I made out of delicate cashmere with a silk plaiting, which may sound bizarre, but

brand, it’s defi ned by the search for inner beauty as well as beauty on the outside. A woman’s thirst for knowledge, her desire for a weapon other than her beauty, her need for fi nding something that makes her special are the values that we are really impressed by. I never try to make a dress that people will compliment endlessly. Rather, I strive to create one that will make them compliment the woman wearing it. The dress should support the wearer’s personality, but it should never be more

it was one of my favourite designs ever. Another such example would be a body I made from leather, again a strange choice. I consciously stay away from styles that are outdated, like tight corsets. I like to approach eveningwear from a different angle, and design styles that are much easier and more comfortable to wear. And of course, evening gowns are not the only type of clothing that we offer. We have a selection of clothing ranging from casual and business wear to evening and wedding dresses and everything in between. A little jacket can mean just as much to me as a spectacular train-dress. YOU

SPECIALIZE

MADE-TO-ORDER

CLOTHING FOR INDIVIDUAL CLIENTS. DO YOU ALSO HAVE A READY-TO-WEAR COLLECTION?

79 FOR TWO WEEKS, CUSTOMERS HAD THE ES AT AN ELYSIAN POP-STORE ON POZSONYI ÚT. WILL YOU BE SETTING UP SUCH CITY IN THE FUTURE?

The new collection is called Elysian’s Rooftop, as the designs were inspired by the atmosphere of rooftop gardens. I was drawn to this obscure world of green sanctuaries high above the city: our urban environment often lacks even the smallest signs of nature, and we are continuously longing for the closeness of green leaves and flowers. As for the design, I kept the clean cuts characteristic of Elysian and added a lush, flowing plant-motif to them. The basic colour of the collection is bone white, and I added unique

shades of green and orange to it. I used amazingly detailed flower patterns by 19th century English graphic designer William Morris as prints. I simply fell in love with the exciting shades of orange – ginger and sherbert – that appear in his Wild Tulip designs. I think that they work beautifully with the different fabrics that we printed them on. I think it’s safe to say that there has never been an Elysian collection that feels so light and looks so fresh.

WHAT CAN YOU TELL US ABOUT THE NEW

Spring 2015

SPRING-SUMMER COLLECTION?

“ We have a selection of clothing ranging from casual and business wear to evening and wedding dresses and everything in between. A little jacket can mean just as much to me as a spectacular train-dress.”

iar with the process of commissioning someone to make custom made clothes for them, so pop-up stores provide us with a chance to open up the brand to a wider range of customers.

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Yes, we are planning to follow up on this initiation, because it was very popular and we really enjoyed doing it. A lot of women still hesitate to step into a showroom, because they are unfamil-

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TEMPOR ARY BOUTIQUES AROUND THE

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CHANCE TO BROWSE AMONG YOUR PIEC-

The spring-summer collection will be the first to be released in an off-the-peg form as well: we are preparing for our very first commercial campaign. I am really proud of the amazing partnerships that we’ve formed with companies who represent the same values that we do. L’Oréal, Lancôme, Miele Hungary, CCC Shoes, Notebookspecialista and the Four Seasons Hotel Gresham Palace Budapest are our most distinguished collaborators. With these brands by our side, it is much easier to have high hopes about the future.

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Contact

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Spring 2015

PRESTIGE HOTEL BUDAPEST 1051 Budapest, Vigyázó Ferenc utca 5. prestigehotelbudapest.com prestigebudapest@zeinahotels.com +36 1 920 1000

JAGUAR HUNGARY Autopalace M5, 1194 Budapest, Nagykőrösi út 152. jaguarhungary.hu +36 1 882 8900

ESPRESSO EMBASSY 1051 Budapest, Arany János utca 15. espressoembassy.hu info@espressoembassy.hu +36 30 864 9530

BONBONIER bonbonier.hu info@bonbonier.hu +36 30 768 0142

HERCZEG ÁGNES WINE SCHOOL 1011 Budapest, Hunyadi János út 4. herczegagnes.com oktatas@herczegagnes.com +36 30 648 8490

LE PARFUM CROISETTE ZSOLT ZÓLYOMI’S PERFUMERY 1052 Budapest, Deák Ferenc utca 18. leparfum.hu contact@leparfum.hu + 36 30 4050 668 GALLWITZ 1052 Budapest, Régiposta utca 7-9. gallwitz-pipa.hu gallwitz@gallwitz.hu +36 30 2975 000

CELENI SHOWROOM Metropolitan Salon, 1054 Budapest, Aulich utca 4-6. celeni.eu info@celeni.hu +36 70 360 2811

TAGO ARC liber8tech.com info@liber8tech.com

ELYSIAN SHOWROOM 1055 Budapest, Nagy Ignác utca 14. maisonelysian.com info@maisonelysian.com +36 30 3000 903

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